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19700 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
VIRAL POST EXPLAINS THE ‘REAL’ STORY BEHIND RUDOLPH THE RED-NOSED REINDEER
Even songs about Rudolph, and Frosty the snowman, and walking in a winter wonderland all warm our hearts during the holidays.
But it is only in carols that we truly understand Christmas — of the joy at the birth of Jesus, and also the somberness of what Jesus was born to do: to die.
A good example is "What Child Is This," which brings joy and sorrow poignantly together as it sees the beauty and innocence of a tiny babe asleep on His mother's lap: "What child is this who lays to rest on Mary's lap is sleeping."
Yet it still sings of the future sorrow: "Nails, spears, shall pierce Him through, the cross be born for me for you. Hail, hail the Word made flesh, the babe, the Son of Mary."
That Jesus was born to die for our sins, to breach the chasm between God and humanity, is the joy and sorrow of this season. |
19701 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
But it is only in carols that we truly understand Christmas — of the joy at the birth of Jesus, and also the somberness of what Jesus was born to do: to die.
A good example is "What Child Is This," which brings joy and sorrow poignantly together as it sees the beauty and innocence of a tiny babe asleep on His mother's lap: "What child is this who lays to rest on Mary's lap is sleeping."
Yet it still sings of the future sorrow: "Nails, spears, shall pierce Him through, the cross be born for me for you. Hail, hail the Word made flesh, the babe, the Son of Mary."
That Jesus was born to die for our sins, to breach the chasm between God and humanity, is the joy and sorrow of this season.
MEANINGFUL WAYS TO NAVIGATE THE HOLIDAY SEASON IF YOU'RE NOT IN A FESTIVE SPIRIT
There is joy because He left His glory aside to live among us, abide with us, live the life we couldn't live. |
19702 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
A good example is "What Child Is This," which brings joy and sorrow poignantly together as it sees the beauty and innocence of a tiny babe asleep on His mother's lap: "What child is this who lays to rest on Mary's lap is sleeping."
Yet it still sings of the future sorrow: "Nails, spears, shall pierce Him through, the cross be born for me for you. Hail, hail the Word made flesh, the babe, the Son of Mary."
That Jesus was born to die for our sins, to breach the chasm between God and humanity, is the joy and sorrow of this season.
MEANINGFUL WAYS TO NAVIGATE THE HOLIDAY SEASON IF YOU'RE NOT IN A FESTIVE SPIRIT
There is joy because He left His glory aside to live among us, abide with us, live the life we couldn't live.
And there is sorrow because our sin, the curse, was and is so great that God Himself took the wrath of his own judgment — and died the death we deserve. |
19703 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
Yet it still sings of the future sorrow: "Nails, spears, shall pierce Him through, the cross be born for me for you. Hail, hail the Word made flesh, the babe, the Son of Mary."
That Jesus was born to die for our sins, to breach the chasm between God and humanity, is the joy and sorrow of this season.
MEANINGFUL WAYS TO NAVIGATE THE HOLIDAY SEASON IF YOU'RE NOT IN A FESTIVE SPIRIT
There is joy because He left His glory aside to live among us, abide with us, live the life we couldn't live.
And there is sorrow because our sin, the curse, was and is so great that God Himself took the wrath of his own judgment — and died the death we deserve.
Carols make sense of why there are still wars and suffering at Christmas. |
19704 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
Yet it still sings of the future sorrow: "Nails, spears, shall pierce Him through, the cross be born for me for you. Hail, hail the Word made flesh, the babe, the Son of Mary."
That Jesus was born to die for our sins, to breach the chasm between God and humanity, is the joy and sorrow of this season.
MEANINGFUL WAYS TO NAVIGATE THE HOLIDAY SEASON IF YOU'RE NOT IN A FESTIVE SPIRIT
There is joy because He left His glory aside to live among us, abide with us, live the life we couldn't live.
And there is sorrow because our sin, the curse, was and is so great that God Himself took the wrath of his own judgment — and died the death we deserve.
Carols make sense of why there are still wars and suffering at Christmas. Carols express that the world isn't the way it should be, but they give us tremendous hope in what it could be. |
19705 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
Hail, hail the Word made flesh, the babe, the Son of Mary."
That Jesus was born to die for our sins, to breach the chasm between God and humanity, is the joy and sorrow of this season.
MEANINGFUL WAYS TO NAVIGATE THE HOLIDAY SEASON IF YOU'RE NOT IN A FESTIVE SPIRIT
There is joy because He left His glory aside to live among us, abide with us, live the life we couldn't live.
And there is sorrow because our sin, the curse, was and is so great that God Himself took the wrath of his own judgment — and died the death we deserve.
Carols make sense of why there are still wars and suffering at Christmas. Carols express that the world isn't the way it should be, but they give us tremendous hope in what it could be.
The carol "O come O come Emanuel" is a mournful tune, almost funereal. |
19706 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
Hail, hail the Word made flesh, the babe, the Son of Mary."
That Jesus was born to die for our sins, to breach the chasm between God and humanity, is the joy and sorrow of this season.
MEANINGFUL WAYS TO NAVIGATE THE HOLIDAY SEASON IF YOU'RE NOT IN A FESTIVE SPIRIT
There is joy because He left His glory aside to live among us, abide with us, live the life we couldn't live.
And there is sorrow because our sin, the curse, was and is so great that God Himself took the wrath of his own judgment — and died the death we deserve.
Carols make sense of why there are still wars and suffering at Christmas. Carols express that the world isn't the way it should be, but they give us tremendous hope in what it could be.
The carol "O come O come Emanuel" is a mournful tune, almost funereal. Yet its refrain pleads, "Rejoice, Rejoice!" |
19707 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
That Jesus was born to die for our sins, to breach the chasm between God and humanity, is the joy and sorrow of this season.
MEANINGFUL WAYS TO NAVIGATE THE HOLIDAY SEASON IF YOU'RE NOT IN A FESTIVE SPIRIT
There is joy because He left His glory aside to live among us, abide with us, live the life we couldn't live.
And there is sorrow because our sin, the curse, was and is so great that God Himself took the wrath of his own judgment — and died the death we deserve.
Carols make sense of why there are still wars and suffering at Christmas. Carols express that the world isn't the way it should be, but they give us tremendous hope in what it could be.
The carol "O come O come Emanuel" is a mournful tune, almost funereal. Yet its refrain pleads, "Rejoice, Rejoice!"
Why? |
19708 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
That Jesus was born to die for our sins, to breach the chasm between God and humanity, is the joy and sorrow of this season.
MEANINGFUL WAYS TO NAVIGATE THE HOLIDAY SEASON IF YOU'RE NOT IN A FESTIVE SPIRIT
There is joy because He left His glory aside to live among us, abide with us, live the life we couldn't live.
And there is sorrow because our sin, the curse, was and is so great that God Himself took the wrath of his own judgment — and died the death we deserve.
Carols make sense of why there are still wars and suffering at Christmas. Carols express that the world isn't the way it should be, but they give us tremendous hope in what it could be.
The carol "O come O come Emanuel" is a mournful tune, almost funereal. Yet its refrain pleads, "Rejoice, Rejoice!"
Why? Because "Emanuel, shall come to thee, oh Israel." |
19709 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
MEANINGFUL WAYS TO NAVIGATE THE HOLIDAY SEASON IF YOU'RE NOT IN A FESTIVE SPIRIT
There is joy because He left His glory aside to live among us, abide with us, live the life we couldn't live.
And there is sorrow because our sin, the curse, was and is so great that God Himself took the wrath of his own judgment — and died the death we deserve.
Carols make sense of why there are still wars and suffering at Christmas. Carols express that the world isn't the way it should be, but they give us tremendous hope in what it could be.
The carol "O come O come Emanuel" is a mournful tune, almost funereal. Yet its refrain pleads, "Rejoice, Rejoice!"
Why? Because "Emanuel, shall come to thee, oh Israel."
Emanuel means "God with us." |
19710 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
MEANINGFUL WAYS TO NAVIGATE THE HOLIDAY SEASON IF YOU'RE NOT IN A FESTIVE SPIRIT
There is joy because He left His glory aside to live among us, abide with us, live the life we couldn't live.
And there is sorrow because our sin, the curse, was and is so great that God Himself took the wrath of his own judgment — and died the death we deserve.
Carols make sense of why there are still wars and suffering at Christmas. Carols express that the world isn't the way it should be, but they give us tremendous hope in what it could be.
The carol "O come O come Emanuel" is a mournful tune, almost funereal. Yet its refrain pleads, "Rejoice, Rejoice!"
Why? Because "Emanuel, shall come to thee, oh Israel."
Emanuel means "God with us." That means because of Christmas, a new, category-busting power has come into the world, one not available for the tens of thousands of years of human existence before. |
19711 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
And there is sorrow because our sin, the curse, was and is so great that God Himself took the wrath of his own judgment — and died the death we deserve.
Carols make sense of why there are still wars and suffering at Christmas. Carols express that the world isn't the way it should be, but they give us tremendous hope in what it could be.
The carol "O come O come Emanuel" is a mournful tune, almost funereal. Yet its refrain pleads, "Rejoice, Rejoice!"
Why? Because "Emanuel, shall come to thee, oh Israel."
Emanuel means "God with us." That means because of Christmas, a new, category-busting power has come into the world, one not available for the tens of thousands of years of human existence before.
Grace and a love that surpasses all understanding is what became available because of Christmas. |
19712 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
And there is sorrow because our sin, the curse, was and is so great that God Himself took the wrath of his own judgment — and died the death we deserve.
Carols make sense of why there are still wars and suffering at Christmas. Carols express that the world isn't the way it should be, but they give us tremendous hope in what it could be.
The carol "O come O come Emanuel" is a mournful tune, almost funereal. Yet its refrain pleads, "Rejoice, Rejoice!"
Why? Because "Emanuel, shall come to thee, oh Israel."
Emanuel means "God with us." That means because of Christmas, a new, category-busting power has come into the world, one not available for the tens of thousands of years of human existence before.
Grace and a love that surpasses all understanding is what became available because of Christmas.
The story of Longfellow's famous poem is now the subject of a feature-length film, "I Heard the Bells," available on demand through most cable and streaming platforms. |
19713 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
Carols make sense of why there are still wars and suffering at Christmas. Carols express that the world isn't the way it should be, but they give us tremendous hope in what it could be.
The carol "O come O come Emanuel" is a mournful tune, almost funereal. Yet its refrain pleads, "Rejoice, Rejoice!"
Why? Because "Emanuel, shall come to thee, oh Israel."
Emanuel means "God with us." That means because of Christmas, a new, category-busting power has come into the world, one not available for the tens of thousands of years of human existence before.
Grace and a love that surpasses all understanding is what became available because of Christmas.
The story of Longfellow's famous poem is now the subject of a feature-length film, "I Heard the Bells," available on demand through most cable and streaming platforms.
To an age of AI and computer technology, a little story about a 19th century poet may seem anachronistic. |
19714 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
Carols express that the world isn't the way it should be, but they give us tremendous hope in what it could be.
The carol "O come O come Emanuel" is a mournful tune, almost funereal. Yet its refrain pleads, "Rejoice, Rejoice!"
Why? Because "Emanuel, shall come to thee, oh Israel."
Emanuel means "God with us." That means because of Christmas, a new, category-busting power has come into the world, one not available for the tens of thousands of years of human existence before.
Grace and a love that surpasses all understanding is what became available because of Christmas.
The story of Longfellow's famous poem is now the subject of a feature-length film, "I Heard the Bells," available on demand through most cable and streaming platforms.
To an age of AI and computer technology, a little story about a 19th century poet may seem anachronistic.
Longfellow's poem still bears the truth because it was based on divine reality. |
19715 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
The carol "O come O come Emanuel" is a mournful tune, almost funereal. Yet its refrain pleads, "Rejoice, Rejoice!"
Why? Because "Emanuel, shall come to thee, oh Israel."
Emanuel means "God with us." That means because of Christmas, a new, category-busting power has come into the world, one not available for the tens of thousands of years of human existence before.
Grace and a love that surpasses all understanding is what became available because of Christmas.
The story of Longfellow's famous poem is now the subject of a feature-length film, "I Heard the Bells," available on demand through most cable and streaming platforms.
To an age of AI and computer technology, a little story about a 19th century poet may seem anachronistic.
Longfellow's poem still bears the truth because it was based on divine reality.
But bestselling author and nationally syndicated columnist Cal Thomas notes that from his standpoint, things never really change. |
19716 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
Yet its refrain pleads, "Rejoice, Rejoice!"
Why? Because "Emanuel, shall come to thee, oh Israel."
Emanuel means "God with us." That means because of Christmas, a new, category-busting power has come into the world, one not available for the tens of thousands of years of human existence before.
Grace and a love that surpasses all understanding is what became available because of Christmas.
The story of Longfellow's famous poem is now the subject of a feature-length film, "I Heard the Bells," available on demand through most cable and streaming platforms.
To an age of AI and computer technology, a little story about a 19th century poet may seem anachronistic.
Longfellow's poem still bears the truth because it was based on divine reality.
But bestselling author and nationally syndicated columnist Cal Thomas notes that from his standpoint, things never really change.
Said Thomas, "You can change hairstyles, clothes, styles, modes of transportation. |
19717 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
Why? Because "Emanuel, shall come to thee, oh Israel."
Emanuel means "God with us." That means because of Christmas, a new, category-busting power has come into the world, one not available for the tens of thousands of years of human existence before.
Grace and a love that surpasses all understanding is what became available because of Christmas.
The story of Longfellow's famous poem is now the subject of a feature-length film, "I Heard the Bells," available on demand through most cable and streaming platforms.
To an age of AI and computer technology, a little story about a 19th century poet may seem anachronistic.
Longfellow's poem still bears the truth because it was based on divine reality.
But bestselling author and nationally syndicated columnist Cal Thomas notes that from his standpoint, things never really change.
Said Thomas, "You can change hairstyles, clothes, styles, modes of transportation. You can even change politicians. |
19718 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
Because "Emanuel, shall come to thee, oh Israel."
Emanuel means "God with us." That means because of Christmas, a new, category-busting power has come into the world, one not available for the tens of thousands of years of human existence before.
Grace and a love that surpasses all understanding is what became available because of Christmas.
The story of Longfellow's famous poem is now the subject of a feature-length film, "I Heard the Bells," available on demand through most cable and streaming platforms.
To an age of AI and computer technology, a little story about a 19th century poet may seem anachronistic.
Longfellow's poem still bears the truth because it was based on divine reality.
But bestselling author and nationally syndicated columnist Cal Thomas notes that from his standpoint, things never really change.
Said Thomas, "You can change hairstyles, clothes, styles, modes of transportation. You can even change politicians. But nothing really seems to change … A lot of that has to do with human nature." |
19719 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
That means because of Christmas, a new, category-busting power has come into the world, one not available for the tens of thousands of years of human existence before.
Grace and a love that surpasses all understanding is what became available because of Christmas.
The story of Longfellow's famous poem is now the subject of a feature-length film, "I Heard the Bells," available on demand through most cable and streaming platforms.
To an age of AI and computer technology, a little story about a 19th century poet may seem anachronistic.
Longfellow's poem still bears the truth because it was based on divine reality.
But bestselling author and nationally syndicated columnist Cal Thomas notes that from his standpoint, things never really change.
Said Thomas, "You can change hairstyles, clothes, styles, modes of transportation. You can even change politicians. But nothing really seems to change … A lot of that has to do with human nature."
CLICK HERE TO SIGN UP FOR OUR LIFESTYLE NEWSLETTER
Longfellow's poem still bears the truth because it was based on divine reality. |
19720 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
Grace and a love that surpasses all understanding is what became available because of Christmas.
The story of Longfellow's famous poem is now the subject of a feature-length film, "I Heard the Bells," available on demand through most cable and streaming platforms.
To an age of AI and computer technology, a little story about a 19th century poet may seem anachronistic.
Longfellow's poem still bears the truth because it was based on divine reality.
But bestselling author and nationally syndicated columnist Cal Thomas notes that from his standpoint, things never really change.
Said Thomas, "You can change hairstyles, clothes, styles, modes of transportation. You can even change politicians. But nothing really seems to change … A lot of that has to do with human nature."
CLICK HERE TO SIGN UP FOR OUR LIFESTYLE NEWSLETTER
Longfellow's poem still bears the truth because it was based on divine reality.
Yes, hate is strong — but God's love is stronger. |
19721 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
The story of Longfellow's famous poem is now the subject of a feature-length film, "I Heard the Bells," available on demand through most cable and streaming platforms.
To an age of AI and computer technology, a little story about a 19th century poet may seem anachronistic.
Longfellow's poem still bears the truth because it was based on divine reality.
But bestselling author and nationally syndicated columnist Cal Thomas notes that from his standpoint, things never really change.
Said Thomas, "You can change hairstyles, clothes, styles, modes of transportation. You can even change politicians. But nothing really seems to change … A lot of that has to do with human nature."
CLICK HERE TO SIGN UP FOR OUR LIFESTYLE NEWSLETTER
Longfellow's poem still bears the truth because it was based on divine reality.
Yes, hate is strong — but God's love is stronger.
Wars do bring death — but God through Jesus Christ has conquered death. |
19722 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
To an age of AI and computer technology, a little story about a 19th century poet may seem anachronistic.
Longfellow's poem still bears the truth because it was based on divine reality.
But bestselling author and nationally syndicated columnist Cal Thomas notes that from his standpoint, things never really change.
Said Thomas, "You can change hairstyles, clothes, styles, modes of transportation. You can even change politicians. But nothing really seems to change … A lot of that has to do with human nature."
CLICK HERE TO SIGN UP FOR OUR LIFESTYLE NEWSLETTER
Longfellow's poem still bears the truth because it was based on divine reality.
Yes, hate is strong — but God's love is stronger.
Wars do bring death — but God through Jesus Christ has conquered death.
And because God is now "with us," there is hope ... even with a broken heart.
CLICK HERE TO GET THE FOX NEWS APP
And there is triumph even amid tragedy. |
19723 | Christmas proves that love triumphs over hate — even amid war, suffering, tragedy and turmoil
Longfellow's poem still bears the truth because it was based on divine reality.
But bestselling author and nationally syndicated columnist Cal Thomas notes that from his standpoint, things never really change.
Said Thomas, "You can change hairstyles, clothes, styles, modes of transportation. You can even change politicians. But nothing really seems to change … A lot of that has to do with human nature."
CLICK HERE TO SIGN UP FOR OUR LIFESTYLE NEWSLETTER
Longfellow's poem still bears the truth because it was based on divine reality.
Yes, hate is strong — but God's love is stronger.
Wars do bring death — but God through Jesus Christ has conquered death.
And because God is now "with us," there is hope ... even with a broken heart.
CLICK HERE TO GET THE FOX NEWS APP
And there is triumph even amid tragedy.
This Christmas Day, strain your ears, push aside the din of the culture, the city, the war, the pain … and hear the bells. |
19724 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
MBW Reacts is a series of analytical commentaries from Music Business Worldwide written in response to major recent entertainment events or news stories. MBW Reacts is supported by JKBX , a technology platform that offers consumers access to music royalties as an asset class.
Legislators and regulators around the world are grappling with how to address the many issues that have emerged since AI technology “went mainstream” about a year ago.
In the US, one of the key efforts on that front is being spearheaded by the US Copyright Office, which this past summer issued a call for submissions on the issue of AI and copyright. The goal is for the USCO to put together a study to ”help assess whether legislative or regulatory steps in this area are warranted.”
Numerous businesses involved in AI, and those with substantial copyright holdings, have submitted their thoughts on the issue, including Universal Music Group and AI developer Anthropic. |
19725 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
MBW Reacts is a series of analytical commentaries from Music Business Worldwide written in response to major recent entertainment events or news stories. MBW Reacts is supported by JKBX , a technology platform that offers consumers access to music royalties as an asset class.
Legislators and regulators around the world are grappling with how to address the many issues that have emerged since AI technology “went mainstream” about a year ago.
In the US, one of the key efforts on that front is being spearheaded by the US Copyright Office, which this past summer issued a call for submissions on the issue of AI and copyright. The goal is for the USCO to put together a study to ”help assess whether legislative or regulatory steps in this area are warranted.”
Numerous businesses involved in AI, and those with substantial copyright holdings, have submitted their thoughts on the issue, including Universal Music Group and AI developer Anthropic.
However, to get the clearest view of the direction the music industry would like to see things head, it might help to read the submission from the National Music Publishers Association (NMPA). |
19726 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
MBW Reacts is supported by JKBX , a technology platform that offers consumers access to music royalties as an asset class.
Legislators and regulators around the world are grappling with how to address the many issues that have emerged since AI technology “went mainstream” about a year ago.
In the US, one of the key efforts on that front is being spearheaded by the US Copyright Office, which this past summer issued a call for submissions on the issue of AI and copyright. The goal is for the USCO to put together a study to ”help assess whether legislative or regulatory steps in this area are warranted.”
Numerous businesses involved in AI, and those with substantial copyright holdings, have submitted their thoughts on the issue, including Universal Music Group and AI developer Anthropic.
However, to get the clearest view of the direction the music industry would like to see things head, it might help to read the submission from the National Music Publishers Association (NMPA).
The NMPA’s submission, dated October 30, 2023, pulls no punches. |
19727 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
Legislators and regulators around the world are grappling with how to address the many issues that have emerged since AI technology “went mainstream” about a year ago.
In the US, one of the key efforts on that front is being spearheaded by the US Copyright Office, which this past summer issued a call for submissions on the issue of AI and copyright. The goal is for the USCO to put together a study to ”help assess whether legislative or regulatory steps in this area are warranted.”
Numerous businesses involved in AI, and those with substantial copyright holdings, have submitted their thoughts on the issue, including Universal Music Group and AI developer Anthropic.
However, to get the clearest view of the direction the music industry would like to see things head, it might help to read the submission from the National Music Publishers Association (NMPA).
The NMPA’s submission, dated October 30, 2023, pulls no punches.
It starts off by stressing that its membership – US music publishers major and independent – are “not opposed” to AI. |
19728 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
In the US, one of the key efforts on that front is being spearheaded by the US Copyright Office, which this past summer issued a call for submissions on the issue of AI and copyright. The goal is for the USCO to put together a study to ”help assess whether legislative or regulatory steps in this area are warranted.”
Numerous businesses involved in AI, and those with substantial copyright holdings, have submitted their thoughts on the issue, including Universal Music Group and AI developer Anthropic.
However, to get the clearest view of the direction the music industry would like to see things head, it might help to read the submission from the National Music Publishers Association (NMPA).
The NMPA’s submission, dated October 30, 2023, pulls no punches.
It starts off by stressing that its membership – US music publishers major and independent – are “not opposed” to AI.
“There is widespread belief in the music industry that great benefits could come from generative AI systems that can assist human creators,” the NMPA states. |
19729 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
The goal is for the USCO to put together a study to ”help assess whether legislative or regulatory steps in this area are warranted.”
Numerous businesses involved in AI, and those with substantial copyright holdings, have submitted their thoughts on the issue, including Universal Music Group and AI developer Anthropic.
However, to get the clearest view of the direction the music industry would like to see things head, it might help to read the submission from the National Music Publishers Association (NMPA).
The NMPA’s submission, dated October 30, 2023, pulls no punches.
It starts off by stressing that its membership – US music publishers major and independent – are “not opposed” to AI.
“There is widespread belief in the music industry that great benefits could come from generative AI systems that can assist human creators,” the NMPA states.
But then it goes for the jugular: “However, the development of the generative AI marketplace is marked by breathtaking speed, size and complexity. |
19730 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
However, to get the clearest view of the direction the music industry would like to see things head, it might help to read the submission from the National Music Publishers Association (NMPA).
The NMPA’s submission, dated October 30, 2023, pulls no punches.
It starts off by stressing that its membership – US music publishers major and independent – are “not opposed” to AI.
“There is widespread belief in the music industry that great benefits could come from generative AI systems that can assist human creators,” the NMPA states.
But then it goes for the jugular: “However, the development of the generative AI marketplace is marked by breathtaking speed, size and complexity. Hindsight may well prove that there is no hyperbole in saying that generative AI is the greatest risk to the human creative class that has ever existed.”
“Hindsight may well prove that there is no hyperbole in saying that generative AI is the greatest risk to the human creative class that has ever existed.” NMPA
The submission adds: “Even more alarming is that we do not know how long the window is to act before it is too late. |
19731 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
The NMPA’s submission, dated October 30, 2023, pulls no punches.
It starts off by stressing that its membership – US music publishers major and independent – are “not opposed” to AI.
“There is widespread belief in the music industry that great benefits could come from generative AI systems that can assist human creators,” the NMPA states.
But then it goes for the jugular: “However, the development of the generative AI marketplace is marked by breathtaking speed, size and complexity. Hindsight may well prove that there is no hyperbole in saying that generative AI is the greatest risk to the human creative class that has ever existed.”
“Hindsight may well prove that there is no hyperbole in saying that generative AI is the greatest risk to the human creative class that has ever existed.” NMPA
The submission adds: “Even more alarming is that we do not know how long the window is to act before it is too late. We therefore implore the [US Copyright] Office to support proactive protections for human creators and, where there is uncertainty, to err on the side of protecting human creators.”
That position might not come as a complete surprise from the NMPA, which earlier this year joined the fledgling Human Artistry Campaign, whose goal – in broadest terms – is to ensure that AI doesn’t replace or “erode” human culture. |
19732 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
Hindsight may well prove that there is no hyperbole in saying that generative AI is the greatest risk to the human creative class that has ever existed.”
“Hindsight may well prove that there is no hyperbole in saying that generative AI is the greatest risk to the human creative class that has ever existed.” NMPA
The submission adds: “Even more alarming is that we do not know how long the window is to act before it is too late. We therefore implore the [US Copyright] Office to support proactive protections for human creators and, where there is uncertainty, to err on the side of protecting human creators.”
That position might not come as a complete surprise from the NMPA, which earlier this year joined the fledgling Human Artistry Campaign, whose goal – in broadest terms – is to ensure that AI doesn’t replace or “erode” human culture.
Yet the NMPA’s submission is hardly a Luddite diatribe against high tech; rather, it advocates for regulations and principles that it sees as the right approach to ensuring that the interests of musical artists – and music rights holders – don’t end up subjugated in the frenzy to build our brave new AI-powered world. |
19733 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
We therefore implore the [US Copyright] Office to support proactive protections for human creators and, where there is uncertainty, to err on the side of protecting human creators.”
That position might not come as a complete surprise from the NMPA, which earlier this year joined the fledgling Human Artistry Campaign, whose goal – in broadest terms – is to ensure that AI doesn’t replace or “erode” human culture.
Yet the NMPA’s submission is hardly a Luddite diatribe against high tech; rather, it advocates for regulations and principles that it sees as the right approach to ensuring that the interests of musical artists – and music rights holders – don’t end up subjugated in the frenzy to build our brave new AI-powered world.
Here are some of the key arguments the MNPA made in its submission…
1. |
19734 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
We therefore implore the [US Copyright] Office to support proactive protections for human creators and, where there is uncertainty, to err on the side of protecting human creators.”
That position might not come as a complete surprise from the NMPA, which earlier this year joined the fledgling Human Artistry Campaign, whose goal – in broadest terms – is to ensure that AI doesn’t replace or “erode” human culture.
Yet the NMPA’s submission is hardly a Luddite diatribe against high tech; rather, it advocates for regulations and principles that it sees as the right approach to ensuring that the interests of musical artists – and music rights holders – don’t end up subjugated in the frenzy to build our brave new AI-powered world.
Here are some of the key arguments the MNPA made in its submission…
1. Works created principally through AI should not be copyrightable
In the view of the NMPA, simply giving a prompt to a AI music generator – “compose a power ballad about falling in love” – shouldn’t be enough to create a copyrightable work. |
19735 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
Yet the NMPA’s submission is hardly a Luddite diatribe against high tech; rather, it advocates for regulations and principles that it sees as the right approach to ensuring that the interests of musical artists – and music rights holders – don’t end up subjugated in the frenzy to build our brave new AI-powered world.
Here are some of the key arguments the MNPA made in its submission…
1. Works created principally through AI should not be copyrightable
In the view of the NMPA, simply giving a prompt to a AI music generator – “compose a power ballad about falling in love” – shouldn’t be enough to create a copyrightable work.
“Policies surrounding copyrightability of AI-generated content will either serve to incentivize continued investment and effort into human creativity or to disincentivize it,” states the submission, which can be read in full here. |
19736 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
Yet the NMPA’s submission is hardly a Luddite diatribe against high tech; rather, it advocates for regulations and principles that it sees as the right approach to ensuring that the interests of musical artists – and music rights holders – don’t end up subjugated in the frenzy to build our brave new AI-powered world.
Here are some of the key arguments the MNPA made in its submission…
1. Works created principally through AI should not be copyrightable
In the view of the NMPA, simply giving a prompt to a AI music generator – “compose a power ballad about falling in love” – shouldn’t be enough to create a copyrightable work.
“Policies surrounding copyrightability of AI-generated content will either serve to incentivize continued investment and effort into human creativity or to disincentivize it,” states the submission, which can be read in full here.
“The law should never be such that human creators stand to gain more from repeatedly clicking a button to generate massive amounts of AI-produced materials than from putting their hearts, souls, experiences, skills, talents, and emotions into expressive works of art.”
The law should treat a musical work created entirely by AI the same way it treats works that are in the public domain, the NMPA argues – not copyrightable, and free for anyone to use as they see fit, whether for commercial or other purposes. |
19737 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
Works created principally through AI should not be copyrightable
In the view of the NMPA, simply giving a prompt to a AI music generator – “compose a power ballad about falling in love” – shouldn’t be enough to create a copyrightable work.
“Policies surrounding copyrightability of AI-generated content will either serve to incentivize continued investment and effort into human creativity or to disincentivize it,” states the submission, which can be read in full here.
“The law should never be such that human creators stand to gain more from repeatedly clicking a button to generate massive amounts of AI-produced materials than from putting their hearts, souls, experiences, skills, talents, and emotions into expressive works of art.”
The law should treat a musical work created entirely by AI the same way it treats works that are in the public domain, the NMPA argues – not copyrightable, and free for anyone to use as they see fit, whether for commercial or other purposes.
But the submission draws a clear distinction between music generated by AI, and music generated with the help of AI. |
19738 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
“Policies surrounding copyrightability of AI-generated content will either serve to incentivize continued investment and effort into human creativity or to disincentivize it,” states the submission, which can be read in full here.
“The law should never be such that human creators stand to gain more from repeatedly clicking a button to generate massive amounts of AI-produced materials than from putting their hearts, souls, experiences, skills, talents, and emotions into expressive works of art.”
The law should treat a musical work created entirely by AI the same way it treats works that are in the public domain, the NMPA argues – not copyrightable, and free for anyone to use as they see fit, whether for commercial or other purposes.
But the submission draws a clear distinction between music generated by AI, and music generated with the help of AI.
“Where creators use AI technology as a tool in the creative process to make works that represent their original authorship, their works should be entitled to protection under copyright law,” the NMPA states. |
19739 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
“The law should never be such that human creators stand to gain more from repeatedly clicking a button to generate massive amounts of AI-produced materials than from putting their hearts, souls, experiences, skills, talents, and emotions into expressive works of art.”
The law should treat a musical work created entirely by AI the same way it treats works that are in the public domain, the NMPA argues – not copyrightable, and free for anyone to use as they see fit, whether for commercial or other purposes.
But the submission draws a clear distinction between music generated by AI, and music generated with the help of AI.
“Where creators use AI technology as a tool in the creative process to make works that represent their original authorship, their works should be entitled to protection under copyright law,” the NMPA states.
“Creators that use AI to refine, recast, or modify, or to create new derivative works based on their preexisting works, may also have legitimate claims of authorship over the resulting work in some circumstances.”
“The law should never be such that human creators stand to gain more from repeatedly clicking a button to generate massive amounts of AI-produced materials than from putting their hearts, souls, experiences, skills, talents, and emotions into expressive works of art.” NMPA
In this regard, US legal precedent is – at least so far – on the NMPA’s side. |
19740 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
But the submission draws a clear distinction between music generated by AI, and music generated with the help of AI.
“Where creators use AI technology as a tool in the creative process to make works that represent their original authorship, their works should be entitled to protection under copyright law,” the NMPA states.
“Creators that use AI to refine, recast, or modify, or to create new derivative works based on their preexisting works, may also have legitimate claims of authorship over the resulting work in some circumstances.”
“The law should never be such that human creators stand to gain more from repeatedly clicking a button to generate massive amounts of AI-produced materials than from putting their hearts, souls, experiences, skills, talents, and emotions into expressive works of art.” NMPA
In this regard, US legal precedent is – at least so far – on the NMPA’s side.
In a recent court case, an individual by the name of Stephen Thaler, who owns a computer system he calls the “Creativity Machine,” had a copyright application for an AI-generated “painting” rejected by the USCO on the grounds that the Creativity Machine had created it. |
19741 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
“Creators that use AI to refine, recast, or modify, or to create new derivative works based on their preexisting works, may also have legitimate claims of authorship over the resulting work in some circumstances.”
“The law should never be such that human creators stand to gain more from repeatedly clicking a button to generate massive amounts of AI-produced materials than from putting their hearts, souls, experiences, skills, talents, and emotions into expressive works of art.” NMPA
In this regard, US legal precedent is – at least so far – on the NMPA’s side.
In a recent court case, an individual by the name of Stephen Thaler, who owns a computer system he calls the “Creativity Machine,” had a copyright application for an AI-generated “painting” rejected by the USCO on the grounds that the Creativity Machine had created it.
In a ruling this past August, a US District Court in Washington, D.C., sided with the Copyright Office. |
19742 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
“Creators that use AI to refine, recast, or modify, or to create new derivative works based on their preexisting works, may also have legitimate claims of authorship over the resulting work in some circumstances.”
“The law should never be such that human creators stand to gain more from repeatedly clicking a button to generate massive amounts of AI-produced materials than from putting their hearts, souls, experiences, skills, talents, and emotions into expressive works of art.” NMPA
In this regard, US legal precedent is – at least so far – on the NMPA’s side.
In a recent court case, an individual by the name of Stephen Thaler, who owns a computer system he calls the “Creativity Machine,” had a copyright application for an AI-generated “painting” rejected by the USCO on the grounds that the Creativity Machine had created it.
In a ruling this past August, a US District Court in Washington, D.C., sided with the Copyright Office.
“Copyright has never stretched so far… as to protect works generated by new forms of technology operating absent any guiding human hand, as plaintiff urges here,” Judge Beryl A. Howell commented. |
19743 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
In a recent court case, an individual by the name of Stephen Thaler, who owns a computer system he calls the “Creativity Machine,” had a copyright application for an AI-generated “painting” rejected by the USCO on the grounds that the Creativity Machine had created it.
In a ruling this past August, a US District Court in Washington, D.C., sided with the Copyright Office.
“Copyright has never stretched so far… as to protect works generated by new forms of technology operating absent any guiding human hand, as plaintiff urges here,” Judge Beryl A. Howell commented. “Human authorship is a bedrock requirement of copyright.”
2. AI developers should be required to license materials and keep records of the materials they use for training
Many key players in the music industry and beyond have been adamant that using copyrighted works to train AI algorithms without authorization is a copyright infringement, and a number of lawsuits have been launched against AI companies on these grounds. |
19744 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
In a recent court case, an individual by the name of Stephen Thaler, who owns a computer system he calls the “Creativity Machine,” had a copyright application for an AI-generated “painting” rejected by the USCO on the grounds that the Creativity Machine had created it.
In a ruling this past August, a US District Court in Washington, D.C., sided with the Copyright Office.
“Copyright has never stretched so far… as to protect works generated by new forms of technology operating absent any guiding human hand, as plaintiff urges here,” Judge Beryl A. Howell commented. “Human authorship is a bedrock requirement of copyright.”
2. AI developers should be required to license materials and keep records of the materials they use for training
Many key players in the music industry and beyond have been adamant that using copyrighted works to train AI algorithms without authorization is a copyright infringement, and a number of lawsuits have been launched against AI companies on these grounds.
One such lawsuit was filed by Universal Music Group, Concord Music Group and ABKCO against AI developer Anthropic, seeking potentially tens of millions of dollars for the alleged “systematic and widespread infringement of their copyrighted song lyrics.”
But that doesn’t mean key music industry players don’t want their materials ever used to train AI – they just want AI developers to license that music, not unlike how streaming services, bars and restaurants or movie producers license music. |
19745 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
“Human authorship is a bedrock requirement of copyright.”
2. AI developers should be required to license materials and keep records of the materials they use for training
Many key players in the music industry and beyond have been adamant that using copyrighted works to train AI algorithms without authorization is a copyright infringement, and a number of lawsuits have been launched against AI companies on these grounds.
One such lawsuit was filed by Universal Music Group, Concord Music Group and ABKCO against AI developer Anthropic, seeking potentially tens of millions of dollars for the alleged “systematic and widespread infringement of their copyrighted song lyrics.”
But that doesn’t mean key music industry players don’t want their materials ever used to train AI – they just want AI developers to license that music, not unlike how streaming services, bars and restaurants or movie producers license music.
“Licensing musical works before training use is both required and practicable,” the NMPA’s submission states, adding that “there are well developed processes in place for technology ventures to obtain free market licenses on a large scale.”
And indeed it would have to be on a “large scale,” given that AI algorithms such as large language models are trained on countless millions or even billions of pieces of digital data. |
19746 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
One such lawsuit was filed by Universal Music Group, Concord Music Group and ABKCO against AI developer Anthropic, seeking potentially tens of millions of dollars for the alleged “systematic and widespread infringement of their copyrighted song lyrics.”
But that doesn’t mean key music industry players don’t want their materials ever used to train AI – they just want AI developers to license that music, not unlike how streaming services, bars and restaurants or movie producers license music.
“Licensing musical works before training use is both required and practicable,” the NMPA’s submission states, adding that “there are well developed processes in place for technology ventures to obtain free market licenses on a large scale.”
And indeed it would have to be on a “large scale,” given that AI algorithms such as large language models are trained on countless millions or even billions of pieces of digital data.
“Transparency and recordkeeping requirements are needed to disincentivize infringing activity and to support enforcement activities by copyright owners.” NMPA
The NMPA notes that work on licensing “is already underway,” pointing to news reports earlier this year that UMG, along with Warner Music Group, are in talks with Google to secure licenses for artists’ vocals and musical melodies to create AI-generated songs. |
19747 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
“Licensing musical works before training use is both required and practicable,” the NMPA’s submission states, adding that “there are well developed processes in place for technology ventures to obtain free market licenses on a large scale.”
And indeed it would have to be on a “large scale,” given that AI algorithms such as large language models are trained on countless millions or even billions of pieces of digital data.
“Transparency and recordkeeping requirements are needed to disincentivize infringing activity and to support enforcement activities by copyright owners.” NMPA
The NMPA notes that work on licensing “is already underway,” pointing to news reports earlier this year that UMG, along with Warner Music Group, are in talks with Google to secure licenses for artists’ vocals and musical melodies to create AI-generated songs.
However, enforcing copyright when it comes to AI algorithms could be exceedingly difficult for rights holders, a point the NMPA makes repeatedly in its submission: “Reverse-engineering” an AI algorithm to prove it was trained on content to which the developer had no right is no easy task, save for when that AI produces a work that is substantially similar to the original (as in the case of the lawsuits currently pending against AI companies). |
19748 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
“Transparency and recordkeeping requirements are needed to disincentivize infringing activity and to support enforcement activities by copyright owners.” NMPA
The NMPA notes that work on licensing “is already underway,” pointing to news reports earlier this year that UMG, along with Warner Music Group, are in talks with Google to secure licenses for artists’ vocals and musical melodies to create AI-generated songs.
However, enforcing copyright when it comes to AI algorithms could be exceedingly difficult for rights holders, a point the NMPA makes repeatedly in its submission: “Reverse-engineering” an AI algorithm to prove it was trained on content to which the developer had no right is no easy task, save for when that AI produces a work that is substantially similar to the original (as in the case of the lawsuits currently pending against AI companies).
So the NMPA is arguing for a new regulation: That AI developers be required to keep records of what data their algorithms ingested. |
19749 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
“Transparency and recordkeeping requirements are needed to disincentivize infringing activity and to support enforcement activities by copyright owners.” NMPA
The NMPA notes that work on licensing “is already underway,” pointing to news reports earlier this year that UMG, along with Warner Music Group, are in talks with Google to secure licenses for artists’ vocals and musical melodies to create AI-generated songs.
However, enforcing copyright when it comes to AI algorithms could be exceedingly difficult for rights holders, a point the NMPA makes repeatedly in its submission: “Reverse-engineering” an AI algorithm to prove it was trained on content to which the developer had no right is no easy task, save for when that AI produces a work that is substantially similar to the original (as in the case of the lawsuits currently pending against AI companies).
So the NMPA is arguing for a new regulation: That AI developers be required to keep records of what data their algorithms ingested.
“Transparency and recordkeeping requirements are needed to disincentivize infringing activity and to support enforcement activities by copyright owners,” the NMPA’s submission states. |
19750 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
However, enforcing copyright when it comes to AI algorithms could be exceedingly difficult for rights holders, a point the NMPA makes repeatedly in its submission: “Reverse-engineering” an AI algorithm to prove it was trained on content to which the developer had no right is no easy task, save for when that AI produces a work that is substantially similar to the original (as in the case of the lawsuits currently pending against AI companies).
So the NMPA is arguing for a new regulation: That AI developers be required to keep records of what data their algorithms ingested.
“Transparency and recordkeeping requirements are needed to disincentivize infringing activity and to support enforcement activities by copyright owners,” the NMPA’s submission states.
“The primary parties who should be required to maintain records under a transparency and recordkeeping scheme are developers of AI models, those who use existing AI models to develop new AI tools and those who broker datasets for use in AI training.”
On that front, the European Union may have gone some – if not all – of the way in making that a reality. |
19751 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
So the NMPA is arguing for a new regulation: That AI developers be required to keep records of what data their algorithms ingested.
“Transparency and recordkeeping requirements are needed to disincentivize infringing activity and to support enforcement activities by copyright owners,” the NMPA’s submission states.
“The primary parties who should be required to maintain records under a transparency and recordkeeping scheme are developers of AI models, those who use existing AI models to develop new AI tools and those who broker datasets for use in AI training.”
On that front, the European Union may have gone some – if not all – of the way in making that a reality. Its proposed AI Act – currently the subject of back-and-forth negotiations between the European Commission and the European Parliament – contains a rule that would require AI developers to disclose whether their AI had been trained on copyrighted materials. |
19752 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
So the NMPA is arguing for a new regulation: That AI developers be required to keep records of what data their algorithms ingested.
“Transparency and recordkeeping requirements are needed to disincentivize infringing activity and to support enforcement activities by copyright owners,” the NMPA’s submission states.
“The primary parties who should be required to maintain records under a transparency and recordkeeping scheme are developers of AI models, those who use existing AI models to develop new AI tools and those who broker datasets for use in AI training.”
On that front, the European Union may have gone some – if not all – of the way in making that a reality. Its proposed AI Act – currently the subject of back-and-forth negotiations between the European Commission and the European Parliament – contains a rule that would require AI developers to disclose whether their AI had been trained on copyrighted materials.
Transparency in the use of AI is also becoming a rule on social media sites where AI-generated content is likely to appear: Both TikTok and YouTube have now passed rules requiring AI-generated content to be labeled as such. |
19753 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
“Transparency and recordkeeping requirements are needed to disincentivize infringing activity and to support enforcement activities by copyright owners,” the NMPA’s submission states.
“The primary parties who should be required to maintain records under a transparency and recordkeeping scheme are developers of AI models, those who use existing AI models to develop new AI tools and those who broker datasets for use in AI training.”
On that front, the European Union may have gone some – if not all – of the way in making that a reality. Its proposed AI Act – currently the subject of back-and-forth negotiations between the European Commission and the European Parliament – contains a rule that would require AI developers to disclose whether their AI had been trained on copyrighted materials.
Transparency in the use of AI is also becoming a rule on social media sites where AI-generated content is likely to appear: Both TikTok and YouTube have now passed rules requiring AI-generated content to be labeled as such.
3. |
19754 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
“Transparency and recordkeeping requirements are needed to disincentivize infringing activity and to support enforcement activities by copyright owners,” the NMPA’s submission states.
“The primary parties who should be required to maintain records under a transparency and recordkeeping scheme are developers of AI models, those who use existing AI models to develop new AI tools and those who broker datasets for use in AI training.”
On that front, the European Union may have gone some – if not all – of the way in making that a reality. Its proposed AI Act – currently the subject of back-and-forth negotiations between the European Commission and the European Parliament – contains a rule that would require AI developers to disclose whether their AI had been trained on copyrighted materials.
Transparency in the use of AI is also becoming a rule on social media sites where AI-generated content is likely to appear: Both TikTok and YouTube have now passed rules requiring AI-generated content to be labeled as such.
3. The NMPA is opposed to an ‘opt-out’ regime for use of copyrighted works in AI
One of the questions the US Copyright Office posed in its call for submissions was “should copyright owners have to affirmatively consent (opt in) to the use of their works for training [AI], or should they be provided with the means to object (opt out)?”
The NMPA made it clear it’s on the side of “opt in.”
“US copyright law is an opt-in system,” the NMPA said. |
19755 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
Its proposed AI Act – currently the subject of back-and-forth negotiations between the European Commission and the European Parliament – contains a rule that would require AI developers to disclose whether their AI had been trained on copyrighted materials.
Transparency in the use of AI is also becoming a rule on social media sites where AI-generated content is likely to appear: Both TikTok and YouTube have now passed rules requiring AI-generated content to be labeled as such.
3. The NMPA is opposed to an ‘opt-out’ regime for use of copyrighted works in AI
One of the questions the US Copyright Office posed in its call for submissions was “should copyright owners have to affirmatively consent (opt in) to the use of their works for training [AI], or should they be provided with the means to object (opt out)?”
The NMPA made it clear it’s on the side of “opt in.”
“US copyright law is an opt-in system,” the NMPA said. “Opt-out regimes fundamentally undermine copyright protections by shifting the burden to obtain a license away from users.”
The submission continued: “An opt-out scheme that requires rights holders to opt out on an AI company-by-AI company or application-by-application basis would not be feasible, given the sheer volume of AI companies and applications; it is nearly a full-time job to keep up with developments in the AI marketplace… Copyright owners, particularly individual creators and small businesses could not possibly meet such a burden. |
19756 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
“Opt-out regimes fundamentally undermine copyright protections by shifting the burden to obtain a license away from users.”
The submission continued: “An opt-out scheme that requires rights holders to opt out on an AI company-by-AI company or application-by-application basis would not be feasible, given the sheer volume of AI companies and applications; it is nearly a full-time job to keep up with developments in the AI marketplace… Copyright owners, particularly individual creators and small businesses could not possibly meet such a burden.
“NMPA strongly opposes consideration of such a measure.”
“Opt-out regimes fundamentally undermine copyright protections by shifting the burden to obtain a license away from users.” NMPA
On this issue, the NMPA is fully aligned with UMG, which made a similar argument in its own submission to the Copyright Office.
“An opt-out system is based on the erroneous premise that training on copyrighted works without permission is by default lawful unless each copyright owner objects,” UMG stated in its submission. |
19757 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
“Opt-out regimes fundamentally undermine copyright protections by shifting the burden to obtain a license away from users.”
The submission continued: “An opt-out scheme that requires rights holders to opt out on an AI company-by-AI company or application-by-application basis would not be feasible, given the sheer volume of AI companies and applications; it is nearly a full-time job to keep up with developments in the AI marketplace… Copyright owners, particularly individual creators and small businesses could not possibly meet such a burden.
“NMPA strongly opposes consideration of such a measure.”
“Opt-out regimes fundamentally undermine copyright protections by shifting the burden to obtain a license away from users.” NMPA
On this issue, the NMPA is fully aligned with UMG, which made a similar argument in its own submission to the Copyright Office.
“An opt-out system is based on the erroneous premise that training on copyrighted works without permission is by default lawful unless each copyright owner objects,” UMG stated in its submission.
“That philosophy does violence to basic principles of copyright law, imposes undue burdens on copyright owners, creates the wrong incentives for AI developers, and is neither practicable nor effective for protecting the rights of copyright owners or ensuring the sensible use of copyrighted works for training purposes.”
4. |
19758 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
“NMPA strongly opposes consideration of such a measure.”
“Opt-out regimes fundamentally undermine copyright protections by shifting the burden to obtain a license away from users.” NMPA
On this issue, the NMPA is fully aligned with UMG, which made a similar argument in its own submission to the Copyright Office.
“An opt-out system is based on the erroneous premise that training on copyrighted works without permission is by default lawful unless each copyright owner objects,” UMG stated in its submission.
“That philosophy does violence to basic principles of copyright law, imposes undue burdens on copyright owners, creates the wrong incentives for AI developers, and is neither practicable nor effective for protecting the rights of copyright owners or ensuring the sensible use of copyrighted works for training purposes.”
4. Training AI on copyrighted works is not “fair use” under almost any circumstance
Another area in which the NMPA and UMG are aligned is on the issue of whether using copyrighted material constitutes “fair use.”
Fair use is the carve-out to copyright law that allows copyrighted materials to be used without permission in certain limited circumstances, such as for educational purposes or for reporting news. |
19759 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
“An opt-out system is based on the erroneous premise that training on copyrighted works without permission is by default lawful unless each copyright owner objects,” UMG stated in its submission.
“That philosophy does violence to basic principles of copyright law, imposes undue burdens on copyright owners, creates the wrong incentives for AI developers, and is neither practicable nor effective for protecting the rights of copyright owners or ensuring the sensible use of copyrighted works for training purposes.”
4. Training AI on copyrighted works is not “fair use” under almost any circumstance
Another area in which the NMPA and UMG are aligned is on the issue of whether using copyrighted material constitutes “fair use.”
Fair use is the carve-out to copyright law that allows copyrighted materials to be used without permission in certain limited circumstances, such as for educational purposes or for reporting news.
First, a quick reminder on the test US courts use to determine fair use, which has four factors:
The purpose and character of the use – is the use of the copyrighted work for educational purposes or for commercial purposes? |
19760 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
“That philosophy does violence to basic principles of copyright law, imposes undue burdens on copyright owners, creates the wrong incentives for AI developers, and is neither practicable nor effective for protecting the rights of copyright owners or ensuring the sensible use of copyrighted works for training purposes.”
4. Training AI on copyrighted works is not “fair use” under almost any circumstance
Another area in which the NMPA and UMG are aligned is on the issue of whether using copyrighted material constitutes “fair use.”
Fair use is the carve-out to copyright law that allows copyrighted materials to be used without permission in certain limited circumstances, such as for educational purposes or for reporting news.
First, a quick reminder on the test US courts use to determine fair use, which has four factors:
The purpose and character of the use – is the use of the copyrighted work for educational purposes or for commercial purposes?
The nature of the copyrighted work – whether or not the work is particularly creative and original. |
19761 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
“That philosophy does violence to basic principles of copyright law, imposes undue burdens on copyright owners, creates the wrong incentives for AI developers, and is neither practicable nor effective for protecting the rights of copyright owners or ensuring the sensible use of copyrighted works for training purposes.”
4. Training AI on copyrighted works is not “fair use” under almost any circumstance
Another area in which the NMPA and UMG are aligned is on the issue of whether using copyrighted material constitutes “fair use.”
Fair use is the carve-out to copyright law that allows copyrighted materials to be used without permission in certain limited circumstances, such as for educational purposes or for reporting news.
First, a quick reminder on the test US courts use to determine fair use, which has four factors:
The purpose and character of the use – is the use of the copyrighted work for educational purposes or for commercial purposes?
The nature of the copyrighted work – whether or not the work is particularly creative and original.
The amount and substantiality of the portion taken – just how much of a copyrighted work was used without permission? |
19762 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
Training AI on copyrighted works is not “fair use” under almost any circumstance
Another area in which the NMPA and UMG are aligned is on the issue of whether using copyrighted material constitutes “fair use.”
Fair use is the carve-out to copyright law that allows copyrighted materials to be used without permission in certain limited circumstances, such as for educational purposes or for reporting news.
First, a quick reminder on the test US courts use to determine fair use, which has four factors:
The purpose and character of the use – is the use of the copyrighted work for educational purposes or for commercial purposes?
The nature of the copyrighted work – whether or not the work is particularly creative and original.
The amount and substantiality of the portion taken – just how much of a copyrighted work was used without permission?
The effect of the use on the potential market for, or value of, the copyrighted work. |
19763 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
Training AI on copyrighted works is not “fair use” under almost any circumstance
Another area in which the NMPA and UMG are aligned is on the issue of whether using copyrighted material constitutes “fair use.”
Fair use is the carve-out to copyright law that allows copyrighted materials to be used without permission in certain limited circumstances, such as for educational purposes or for reporting news.
First, a quick reminder on the test US courts use to determine fair use, which has four factors:
The purpose and character of the use – is the use of the copyrighted work for educational purposes or for commercial purposes?
The nature of the copyrighted work – whether or not the work is particularly creative and original.
The amount and substantiality of the portion taken – just how much of a copyrighted work was used without permission?
The effect of the use on the potential market for, or value of, the copyrighted work.
The NMPA’s submission argues that the way AI developers use materials to train AI would fail every one of these tests for determining fair use. |
19764 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
First, a quick reminder on the test US courts use to determine fair use, which has four factors:
The purpose and character of the use – is the use of the copyrighted work for educational purposes or for commercial purposes?
The nature of the copyrighted work – whether or not the work is particularly creative and original.
The amount and substantiality of the portion taken – just how much of a copyrighted work was used without permission?
The effect of the use on the potential market for, or value of, the copyrighted work.
The NMPA’s submission argues that the way AI developers use materials to train AI would fail every one of these tests for determining fair use.
AI algorithms are not used for non-profit or educational purposes, as “the training of AI models is fundamentally a commercial endeavor, especially in the case of generative AI,” the NMPA stated. |
19765 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
First, a quick reminder on the test US courts use to determine fair use, which has four factors:
The purpose and character of the use – is the use of the copyrighted work for educational purposes or for commercial purposes?
The nature of the copyrighted work – whether or not the work is particularly creative and original.
The amount and substantiality of the portion taken – just how much of a copyrighted work was used without permission?
The effect of the use on the potential market for, or value of, the copyrighted work.
The NMPA’s submission argues that the way AI developers use materials to train AI would fail every one of these tests for determining fair use.
AI algorithms are not used for non-profit or educational purposes, as “the training of AI models is fundamentally a commercial endeavor, especially in the case of generative AI,” the NMPA stated.
“AI can be used to generate works that compete in the marketplace with the copied works, thereby reducing revenue from existing licensing markets.” NMPA
Furthermore, it contends that any argument that an AI algorithm was trained on copyrighted material for “noncommercial” or “research” purposes should be “viewed skeptically.”
Any business could claim it’s training AI for research or non-commercial purposes, “then shift entirely to commercial exploitation, leaving the creators of the copied works with no compensation,” the submission argued. |
19766 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
The effect of the use on the potential market for, or value of, the copyrighted work.
The NMPA’s submission argues that the way AI developers use materials to train AI would fail every one of these tests for determining fair use.
AI algorithms are not used for non-profit or educational purposes, as “the training of AI models is fundamentally a commercial endeavor, especially in the case of generative AI,” the NMPA stated.
“AI can be used to generate works that compete in the marketplace with the copied works, thereby reducing revenue from existing licensing markets.” NMPA
Furthermore, it contends that any argument that an AI algorithm was trained on copyrighted material for “noncommercial” or “research” purposes should be “viewed skeptically.”
Any business could claim it’s training AI for research or non-commercial purposes, “then shift entirely to commercial exploitation, leaving the creators of the copied works with no compensation,” the submission argued.
AI training also fails the fair use test on the second factor, as generative AI can be used to create “expressive” works of music, and on the third, given that AI training means the entirety of a copyrighted work is ingested, “although there is no inherent need for that,” the NMPA states. |
19767 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
“AI can be used to generate works that compete in the marketplace with the copied works, thereby reducing revenue from existing licensing markets.” NMPA
Furthermore, it contends that any argument that an AI algorithm was trained on copyrighted material for “noncommercial” or “research” purposes should be “viewed skeptically.”
Any business could claim it’s training AI for research or non-commercial purposes, “then shift entirely to commercial exploitation, leaving the creators of the copied works with no compensation,” the submission argued.
AI training also fails the fair use test on the second factor, as generative AI can be used to create “expressive” works of music, and on the third, given that AI training means the entirety of a copyrighted work is ingested, “although there is no inherent need for that,” the NMPA states.
AI training also fails the final test because “AI can be used to generate works that compete in the marketplace with the copied works, thereby reducing revenue from existing licensing markets as well,” the NMPA stated. |
19768 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
AI training also fails the fair use test on the second factor, as generative AI can be used to create “expressive” works of music, and on the third, given that AI training means the entirety of a copyrighted work is ingested, “although there is no inherent need for that,” the NMPA states.
AI training also fails the final test because “AI can be used to generate works that compete in the marketplace with the copied works, thereby reducing revenue from existing licensing markets as well,” the NMPA stated.
The issue of fair use could prove to be one of the key battlegrounds between AI developers and copyright holders. In its own submission to the Copyright Office, Anthropic argued that using copyrighted works to train AI is, indeed, fair use.
The copying of copyrighted works to feed it into the AI algorithm “is merely an intermediate step, extracting unprotectable elements about the entire corpus of works, in order to create new outputs,” Anthropic stated. |
19769 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
AI training also fails the fair use test on the second factor, as generative AI can be used to create “expressive” works of music, and on the third, given that AI training means the entirety of a copyrighted work is ingested, “although there is no inherent need for that,” the NMPA states.
AI training also fails the final test because “AI can be used to generate works that compete in the marketplace with the copied works, thereby reducing revenue from existing licensing markets as well,” the NMPA stated.
The issue of fair use could prove to be one of the key battlegrounds between AI developers and copyright holders. In its own submission to the Copyright Office, Anthropic argued that using copyrighted works to train AI is, indeed, fair use.
The copying of copyrighted works to feed it into the AI algorithm “is merely an intermediate step, extracting unprotectable elements about the entire corpus of works, in order to create new outputs,” Anthropic stated.
“In this way, the use of the original copyrighted work is non-expressive; that is, it is not re-using the copyrighted expression to communicate it to users… To the extent copyrighted works are used in training data, it is for analysis (of statistical relationships between words and concepts) that is unrelated to any expressive purpose of the work.”
“This sort of transformative use has been recognized as lawful in the past and should continue to be considered lawful in this case.”
That argument could yet come into play in Anthropic’s legal battle with Universal. |
19770 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
The issue of fair use could prove to be one of the key battlegrounds between AI developers and copyright holders. In its own submission to the Copyright Office, Anthropic argued that using copyrighted works to train AI is, indeed, fair use.
The copying of copyrighted works to feed it into the AI algorithm “is merely an intermediate step, extracting unprotectable elements about the entire corpus of works, in order to create new outputs,” Anthropic stated.
“In this way, the use of the original copyrighted work is non-expressive; that is, it is not re-using the copyrighted expression to communicate it to users… To the extent copyrighted works are used in training data, it is for analysis (of statistical relationships between words and concepts) that is unrelated to any expressive purpose of the work.”
“This sort of transformative use has been recognized as lawful in the past and should continue to be considered lawful in this case.”
That argument could yet come into play in Anthropic’s legal battle with Universal.
And given the high stakes involved – for the music industry, for the tech industry and for the shape of culture going forward – that case, along with the US Copyright Office’s study of AI and copyright, are worth keeping a close eye on. |
19771 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
The copying of copyrighted works to feed it into the AI algorithm “is merely an intermediate step, extracting unprotectable elements about the entire corpus of works, in order to create new outputs,” Anthropic stated.
“In this way, the use of the original copyrighted work is non-expressive; that is, it is not re-using the copyrighted expression to communicate it to users… To the extent copyrighted works are used in training data, it is for analysis (of statistical relationships between words and concepts) that is unrelated to any expressive purpose of the work.”
“This sort of transformative use has been recognized as lawful in the past and should continue to be considered lawful in this case.”
That argument could yet come into play in Anthropic’s legal battle with Universal.
And given the high stakes involved – for the music industry, for the tech industry and for the shape of culture going forward – that case, along with the US Copyright Office’s study of AI and copyright, are worth keeping a close eye on.
JKBX (pronounced "Jukebox") unlocks shared value from things people love by offering consumers access to music as an asset class — it calls them Royalty Shares. |
19772 | NMPA: Generative AI is ‘the greatest risk to the human creative class that has ever existed’
“In this way, the use of the original copyrighted work is non-expressive; that is, it is not re-using the copyrighted expression to communicate it to users… To the extent copyrighted works are used in training data, it is for analysis (of statistical relationships between words and concepts) that is unrelated to any expressive purpose of the work.”
“This sort of transformative use has been recognized as lawful in the past and should continue to be considered lawful in this case.”
That argument could yet come into play in Anthropic’s legal battle with Universal.
And given the high stakes involved – for the music industry, for the tech industry and for the shape of culture going forward – that case, along with the US Copyright Office’s study of AI and copyright, are worth keeping a close eye on.
JKBX (pronounced "Jukebox") unlocks shared value from things people love by offering consumers access to music as an asset class — it calls them Royalty Shares. In short: JKBX makes it possible for you to invest in music the same way you invest in stocks and other securities.Music Business Worldwide |
19773 | Creatives across industries are strategizing together around AI concerns
As creative industries grapple with AI’s explosion into every artistic medium at once, separate calls from artists warning the world to take action before it’s too late are starting to converge. From fake Drake songs to stylized Instagram profile pictures, art conjured with newly sophisticated AI tools is suddenly ubiquitous — and so are conversations about how to rein in the technology before it does irrevocable harm to creative communities.
This week, digital rights organization Fight for the Future partnered with music industry labor group United Musicians and Allied Workers to launch #AIdayofaction, a campaign that calls on Congress to block corporations from obtaining copyrights on music and other art made with AI.
The idea is that by preventing industry behemoths like major record labels, for example, from copyrighting music made with the assistance of AI, those companies will be forced to keep looping humans into the creative process. But those same concerns — and the same potential strategies for pushing back against the onslaught of AI — exist across creative industries. |
19774 | Creatives across industries are strategizing together around AI concerns
From fake Drake songs to stylized Instagram profile pictures, art conjured with newly sophisticated AI tools is suddenly ubiquitous — and so are conversations about how to rein in the technology before it does irrevocable harm to creative communities.
This week, digital rights organization Fight for the Future partnered with music industry labor group United Musicians and Allied Workers to launch #AIdayofaction, a campaign that calls on Congress to block corporations from obtaining copyrights on music and other art made with AI.
The idea is that by preventing industry behemoths like major record labels, for example, from copyrighting music made with the assistance of AI, those companies will be forced to keep looping humans into the creative process. But those same concerns — and the same potential strategies for pushing back against the onslaught of AI — exist across creative industries.
“It’s funny because if you’ve talked to musicians who have these concerns, they say, ‘Well, authors have been very quiet.’ If you talk to others about these concerns, they say, ‘Well, musicians and photographers don’t seem to care at all,’” Fight for the Future Campaigns and Communications director Lia Holland told TechCrunch. |
19775 | Creatives across industries are strategizing together around AI concerns
This week, digital rights organization Fight for the Future partnered with music industry labor group United Musicians and Allied Workers to launch #AIdayofaction, a campaign that calls on Congress to block corporations from obtaining copyrights on music and other art made with AI.
The idea is that by preventing industry behemoths like major record labels, for example, from copyrighting music made with the assistance of AI, those companies will be forced to keep looping humans into the creative process. But those same concerns — and the same potential strategies for pushing back against the onslaught of AI — exist across creative industries.
“It’s funny because if you’ve talked to musicians who have these concerns, they say, ‘Well, authors have been very quiet.’ If you talk to others about these concerns, they say, ‘Well, musicians and photographers don’t seem to care at all,’” Fight for the Future Campaigns and Communications director Lia Holland told TechCrunch. “So part of it also is that the different creative fields, when it comes to this sort of work, are a little bit siloed.”
“That was another intent with our launching this effort with the day of action, to try to illustrate how these are common concerns that are shared across artistic mediums. |
19776 | Creatives across industries are strategizing together around AI concerns
The idea is that by preventing industry behemoths like major record labels, for example, from copyrighting music made with the assistance of AI, those companies will be forced to keep looping humans into the creative process. But those same concerns — and the same potential strategies for pushing back against the onslaught of AI — exist across creative industries.
“It’s funny because if you’ve talked to musicians who have these concerns, they say, ‘Well, authors have been very quiet.’ If you talk to others about these concerns, they say, ‘Well, musicians and photographers don’t seem to care at all,’” Fight for the Future Campaigns and Communications director Lia Holland told TechCrunch. “So part of it also is that the different creative fields, when it comes to this sort of work, are a little bit siloed.”
“That was another intent with our launching this effort with the day of action, to try to illustrate how these are common concerns that are shared across artistic mediums. And to create an organizing point . . . |
19777 | Creatives across industries are strategizing together around AI concerns
But those same concerns — and the same potential strategies for pushing back against the onslaught of AI — exist across creative industries.
“It’s funny because if you’ve talked to musicians who have these concerns, they say, ‘Well, authors have been very quiet.’ If you talk to others about these concerns, they say, ‘Well, musicians and photographers don’t seem to care at all,’” Fight for the Future Campaigns and Communications director Lia Holland told TechCrunch. “So part of it also is that the different creative fields, when it comes to this sort of work, are a little bit siloed.”
“That was another intent with our launching this effort with the day of action, to try to illustrate how these are common concerns that are shared across artistic mediums. And to create an organizing point . . . because when artists of different mediums move together they have a lot more power.”
The campaign targets potential corporate abuse of AI technology, but it’s realistic about the ways that musicians and some other creatives could benefit on an individual level from automating parts of their work. |
19778 | Creatives across industries are strategizing together around AI concerns
“It’s funny because if you’ve talked to musicians who have these concerns, they say, ‘Well, authors have been very quiet.’ If you talk to others about these concerns, they say, ‘Well, musicians and photographers don’t seem to care at all,’” Fight for the Future Campaigns and Communications director Lia Holland told TechCrunch. “So part of it also is that the different creative fields, when it comes to this sort of work, are a little bit siloed.”
“That was another intent with our launching this effort with the day of action, to try to illustrate how these are common concerns that are shared across artistic mediums. And to create an organizing point . . . because when artists of different mediums move together they have a lot more power.”
The campaign targets potential corporate abuse of AI technology, but it’s realistic about the ways that musicians and some other creatives could benefit on an individual level from automating parts of their work. The goal is that AI tools “become ways for individual humans to make more money, work less, and compete with the corporations that exploit them.”
“It’s really interesting from a music perspective, specifically, because . |
19779 | Creatives across industries are strategizing together around AI concerns
“So part of it also is that the different creative fields, when it comes to this sort of work, are a little bit siloed.”
“That was another intent with our launching this effort with the day of action, to try to illustrate how these are common concerns that are shared across artistic mediums. And to create an organizing point . . . because when artists of different mediums move together they have a lot more power.”
The campaign targets potential corporate abuse of AI technology, but it’s realistic about the ways that musicians and some other creatives could benefit on an individual level from automating parts of their work. The goal is that AI tools “become ways for individual humans to make more money, work less, and compete with the corporations that exploit them.”
“It’s really interesting from a music perspective, specifically, because . . . musicians are perhaps more familiar with the idea of AI,” Holland said. “Musicians in general are more familiar with things like music production software, and AI tools like MIDI drum loops . |
19780 | Creatives across industries are strategizing together around AI concerns
And to create an organizing point . . . because when artists of different mediums move together they have a lot more power.”
The campaign targets potential corporate abuse of AI technology, but it’s realistic about the ways that musicians and some other creatives could benefit on an individual level from automating parts of their work. The goal is that AI tools “become ways for individual humans to make more money, work less, and compete with the corporations that exploit them.”
“It’s really interesting from a music perspective, specifically, because . . . musicians are perhaps more familiar with the idea of AI,” Holland said. “Musicians in general are more familiar with things like music production software, and AI tools like MIDI drum loops . . . so I think that there is a certain amount of more progressive learning from them, when it comes to technology, and its ability to make their music better.”
When it comes to art and AI, the conversation is complicated, to say the least. |
19781 | Creatives across industries are strategizing together around AI concerns
. . because when artists of different mediums move together they have a lot more power.”
The campaign targets potential corporate abuse of AI technology, but it’s realistic about the ways that musicians and some other creatives could benefit on an individual level from automating parts of their work. The goal is that AI tools “become ways for individual humans to make more money, work less, and compete with the corporations that exploit them.”
“It’s really interesting from a music perspective, specifically, because . . . musicians are perhaps more familiar with the idea of AI,” Holland said. “Musicians in general are more familiar with things like music production software, and AI tools like MIDI drum loops . . . so I think that there is a certain amount of more progressive learning from them, when it comes to technology, and its ability to make their music better.”
When it comes to art and AI, the conversation is complicated, to say the least. Musicians are nervous about industry giants copyrighting AI music and cutting them out of the process. |
19782 | Creatives across industries are strategizing together around AI concerns
The goal is that AI tools “become ways for individual humans to make more money, work less, and compete with the corporations that exploit them.”
“It’s really interesting from a music perspective, specifically, because . . . musicians are perhaps more familiar with the idea of AI,” Holland said. “Musicians in general are more familiar with things like music production software, and AI tools like MIDI drum loops . . . so I think that there is a certain amount of more progressive learning from them, when it comes to technology, and its ability to make their music better.”
When it comes to art and AI, the conversation is complicated, to say the least. Musicians are nervous about industry giants copyrighting AI music and cutting them out of the process. Major record labels are worried about AI models training on their catalogues and stealing a slice of their considerable pie. |
19783 | Creatives across industries are strategizing together around AI concerns
The goal is that AI tools “become ways for individual humans to make more money, work less, and compete with the corporations that exploit them.”
“It’s really interesting from a music perspective, specifically, because . . . musicians are perhaps more familiar with the idea of AI,” Holland said. “Musicians in general are more familiar with things like music production software, and AI tools like MIDI drum loops . . . so I think that there is a certain amount of more progressive learning from them, when it comes to technology, and its ability to make their music better.”
When it comes to art and AI, the conversation is complicated, to say the least. Musicians are nervous about industry giants copyrighting AI music and cutting them out of the process. Major record labels are worried about AI models training on their catalogues and stealing a slice of their considerable pie. Spotify erased thousands of AI-crafted songs from its platform but also recently globally launched an AI-powered DJ that curates music for listeners while talking to them in a synthetic voice. |
19784 | Creatives across industries are strategizing together around AI concerns
. . musicians are perhaps more familiar with the idea of AI,” Holland said. “Musicians in general are more familiar with things like music production software, and AI tools like MIDI drum loops . . . so I think that there is a certain amount of more progressive learning from them, when it comes to technology, and its ability to make their music better.”
When it comes to art and AI, the conversation is complicated, to say the least. Musicians are nervous about industry giants copyrighting AI music and cutting them out of the process. Major record labels are worried about AI models training on their catalogues and stealing a slice of their considerable pie. Spotify erased thousands of AI-crafted songs from its platform but also recently globally launched an AI-powered DJ that curates music for listeners while talking to them in a synthetic voice.
“The training of generative AI using our artists’ music . . . |
19785 | Creatives across industries are strategizing together around AI concerns
. . musicians are perhaps more familiar with the idea of AI,” Holland said. “Musicians in general are more familiar with things like music production software, and AI tools like MIDI drum loops . . . so I think that there is a certain amount of more progressive learning from them, when it comes to technology, and its ability to make their music better.”
When it comes to art and AI, the conversation is complicated, to say the least. Musicians are nervous about industry giants copyrighting AI music and cutting them out of the process. Major record labels are worried about AI models training on their catalogues and stealing a slice of their considerable pie. Spotify erased thousands of AI-crafted songs from its platform but also recently globally launched an AI-powered DJ that curates music for listeners while talking to them in a synthetic voice.
“The training of generative AI using our artists’ music . . . begs the question as to which side of history all stakeholders in the music ecosystem want to be on: the side of artists, fans and human creative expression, or on the side of deep fakes, fraud and denying artists their due compensation,” Universal Music Group said after a song using AI to imitate Drake and The Weeknd, two of its artists, went viral. |
19786 | Creatives across industries are strategizing together around AI concerns
Musicians are nervous about industry giants copyrighting AI music and cutting them out of the process. Major record labels are worried about AI models training on their catalogues and stealing a slice of their considerable pie. Spotify erased thousands of AI-crafted songs from its platform but also recently globally launched an AI-powered DJ that curates music for listeners while talking to them in a synthetic voice.
“The training of generative AI using our artists’ music . . . begs the question as to which side of history all stakeholders in the music ecosystem want to be on: the side of artists, fans and human creative expression, or on the side of deep fakes, fraud and denying artists their due compensation,” Universal Music Group said after a song using AI to imitate Drake and The Weeknd, two of its artists, went viral.
These same conversations and contradictions are manifesting across creative industries, but artists themselves don’t always have a seat at the table. |
19787 | Creatives across industries are strategizing together around AI concerns
Musicians are nervous about industry giants copyrighting AI music and cutting them out of the process. Major record labels are worried about AI models training on their catalogues and stealing a slice of their considerable pie. Spotify erased thousands of AI-crafted songs from its platform but also recently globally launched an AI-powered DJ that curates music for listeners while talking to them in a synthetic voice.
“The training of generative AI using our artists’ music . . . begs the question as to which side of history all stakeholders in the music ecosystem want to be on: the side of artists, fans and human creative expression, or on the side of deep fakes, fraud and denying artists their due compensation,” Universal Music Group said after a song using AI to imitate Drake and The Weeknd, two of its artists, went viral.
These same conversations and contradictions are manifesting across creative industries, but artists themselves don’t always have a seat at the table. Independent artists in particular are learning that their voices resonate louder when coming together across disciplines to push back against what Holland describes as an “extraordinary spectrum of exploitation” that leverages their work. |
19788 | Creatives across industries are strategizing together around AI concerns
Spotify erased thousands of AI-crafted songs from its platform but also recently globally launched an AI-powered DJ that curates music for listeners while talking to them in a synthetic voice.
“The training of generative AI using our artists’ music . . . begs the question as to which side of history all stakeholders in the music ecosystem want to be on: the side of artists, fans and human creative expression, or on the side of deep fakes, fraud and denying artists their due compensation,” Universal Music Group said after a song using AI to imitate Drake and The Weeknd, two of its artists, went viral.
These same conversations and contradictions are manifesting across creative industries, but artists themselves don’t always have a seat at the table. Independent artists in particular are learning that their voices resonate louder when coming together across disciplines to push back against what Holland describes as an “extraordinary spectrum of exploitation” that leverages their work.
In a roundtable hosted by the FTC this week, the agency brought together figures from across creative industries — from voice acting and science fiction to screenwriting, music, illustration and even fashion — to delve into how generative AI is affecting creatives. |
19789 | Creatives across industries are strategizing together around AI concerns
. . begs the question as to which side of history all stakeholders in the music ecosystem want to be on: the side of artists, fans and human creative expression, or on the side of deep fakes, fraud and denying artists their due compensation,” Universal Music Group said after a song using AI to imitate Drake and The Weeknd, two of its artists, went viral.
These same conversations and contradictions are manifesting across creative industries, but artists themselves don’t always have a seat at the table. Independent artists in particular are learning that their voices resonate louder when coming together across disciplines to push back against what Holland describes as an “extraordinary spectrum of exploitation” that leverages their work.
In a roundtable hosted by the FTC this week, the agency brought together figures from across creative industries — from voice acting and science fiction to screenwriting, music, illustration and even fashion — to delve into how generative AI is affecting creatives.
“I know that generative AI in particular poses a unique set of opportunities and challenges to creative industries,” FTC chair Lina Khan said. |
19790 | Creatives across industries are strategizing together around AI concerns
These same conversations and contradictions are manifesting across creative industries, but artists themselves don’t always have a seat at the table. Independent artists in particular are learning that their voices resonate louder when coming together across disciplines to push back against what Holland describes as an “extraordinary spectrum of exploitation” that leverages their work.
In a roundtable hosted by the FTC this week, the agency brought together figures from across creative industries — from voice acting and science fiction to screenwriting, music, illustration and even fashion — to delve into how generative AI is affecting creatives.
“I know that generative AI in particular poses a unique set of opportunities and challenges to creative industries,” FTC chair Lina Khan said. “We’ve already heard significant concerns about how these technologies could virtually overnight significantly disempower creators and artists who may watch their life’s creation be appropriated into models over which they have no control.”
In the comments, representatives from myriad creative communities expressed concerns around opt-out requirements that by default train AI models on artists’ original work, and how existing copyright law could be a useful if not comprehensive tool for setting out regulatory guardrails. |
19791 | Creatives across industries are strategizing together around AI concerns
In a roundtable hosted by the FTC this week, the agency brought together figures from across creative industries — from voice acting and science fiction to screenwriting, music, illustration and even fashion — to delve into how generative AI is affecting creatives.
“I know that generative AI in particular poses a unique set of opportunities and challenges to creative industries,” FTC chair Lina Khan said. “We’ve already heard significant concerns about how these technologies could virtually overnight significantly disempower creators and artists who may watch their life’s creation be appropriated into models over which they have no control.”
In the comments, representatives from myriad creative communities expressed concerns around opt-out requirements that by default train AI models on artists’ original work, and how existing copyright law could be a useful if not comprehensive tool for setting out regulatory guardrails.
In the conversation, a representative with the WGA emphasized that while striking writers obtained their own protections in a newly won agreement, the fight for artists’ livelihoods “doesn’t stop at the bargaining table.”
Whether Congress mobilizes in time to address mounting concerns around AI and creative industries or not, for its part the FTC does appear to be very tuned into the technology’s risks — and the power of bringing voices together across industries. |
19792 | Creatives across industries are strategizing together around AI concerns
“I know that generative AI in particular poses a unique set of opportunities and challenges to creative industries,” FTC chair Lina Khan said. “We’ve already heard significant concerns about how these technologies could virtually overnight significantly disempower creators and artists who may watch their life’s creation be appropriated into models over which they have no control.”
In the comments, representatives from myriad creative communities expressed concerns around opt-out requirements that by default train AI models on artists’ original work, and how existing copyright law could be a useful if not comprehensive tool for setting out regulatory guardrails.
In the conversation, a representative with the WGA emphasized that while striking writers obtained their own protections in a newly won agreement, the fight for artists’ livelihoods “doesn’t stop at the bargaining table.”
Whether Congress mobilizes in time to address mounting concerns around AI and creative industries or not, for its part the FTC does appear to be very tuned into the technology’s risks — and the power of bringing voices together across industries.
“Art is fundamentally human,” FTC commissioner Rebecca Slaughter said. |
19793 | Creatives across industries are strategizing together around AI concerns
“We’ve already heard significant concerns about how these technologies could virtually overnight significantly disempower creators and artists who may watch their life’s creation be appropriated into models over which they have no control.”
In the comments, representatives from myriad creative communities expressed concerns around opt-out requirements that by default train AI models on artists’ original work, and how existing copyright law could be a useful if not comprehensive tool for setting out regulatory guardrails.
In the conversation, a representative with the WGA emphasized that while striking writers obtained their own protections in a newly won agreement, the fight for artists’ livelihoods “doesn’t stop at the bargaining table.”
Whether Congress mobilizes in time to address mounting concerns around AI and creative industries or not, for its part the FTC does appear to be very tuned into the technology’s risks — and the power of bringing voices together across industries.
“Art is fundamentally human,” FTC commissioner Rebecca Slaughter said.
“Humans may use technology to assist in creating art, but something cannot be art without human input. Technology is, by definition, not human . |
19794 | Creatives across industries are strategizing together around AI concerns
In the conversation, a representative with the WGA emphasized that while striking writers obtained their own protections in a newly won agreement, the fight for artists’ livelihoods “doesn’t stop at the bargaining table.”
Whether Congress mobilizes in time to address mounting concerns around AI and creative industries or not, for its part the FTC does appear to be very tuned into the technology’s risks — and the power of bringing voices together across industries.
“Art is fundamentally human,” FTC commissioner Rebecca Slaughter said.
“Humans may use technology to assist in creating art, but something cannot be art without human input. Technology is, by definition, not human . . . humans may endeavor to make generative AI that is ever more intelligent, [but] it cannot and will not replace human creativity.” |
19795 | Showtime Boxing to take final 10-count: Top 5 greatest fights revisited
When Cuban super middleweight David Morrell steps between the ropes to defend his WBA "regular" super middleweight title against Sena Agbeko at the Armory in Minneapolis, there will be a lump in many ringsider's throats.
However, it's not the main event that will elicit this emotional response, it's the fact that December 16, 2023, will be the final broadcast of the beloved Showtime Championship Boxing series.
Showtime Boxing began in 1986 and has hosted some of the greatest and most famous fighters of all time, including Marvelous Marvin Hagler, Thomas Hearns, Roberto Duran, Sugar Ray Leonard, Mike Tyson, Evander Holyfield and Floyd Mayweather.
Among the elite-level professionals who have contributed in a broadcasting capacity are Tim Ryan, Gil Clancy, Al Bernstein, Steve Farhood, Barry Tompkins, Jim Gray, Mauro Ranallo and many others. The platform has been an institution and will be greatly missed. |
19796 | Showtime Boxing to take final 10-count: Top 5 greatest fights revisited
However, it's not the main event that will elicit this emotional response, it's the fact that December 16, 2023, will be the final broadcast of the beloved Showtime Championship Boxing series.
Showtime Boxing began in 1986 and has hosted some of the greatest and most famous fighters of all time, including Marvelous Marvin Hagler, Thomas Hearns, Roberto Duran, Sugar Ray Leonard, Mike Tyson, Evander Holyfield and Floyd Mayweather.
Among the elite-level professionals who have contributed in a broadcasting capacity are Tim Ryan, Gil Clancy, Al Bernstein, Steve Farhood, Barry Tompkins, Jim Gray, Mauro Ranallo and many others. The platform has been an institution and will be greatly missed.
“The company’s decision is not a reflection of the work we have done in recent years, nor of our long and proud history,” said Showtime Sports executive Stephen Espinoza in a statement to staff. |
19797 | Showtime Boxing to take final 10-count: Top 5 greatest fights revisited
However, it's not the main event that will elicit this emotional response, it's the fact that December 16, 2023, will be the final broadcast of the beloved Showtime Championship Boxing series.
Showtime Boxing began in 1986 and has hosted some of the greatest and most famous fighters of all time, including Marvelous Marvin Hagler, Thomas Hearns, Roberto Duran, Sugar Ray Leonard, Mike Tyson, Evander Holyfield and Floyd Mayweather.
Among the elite-level professionals who have contributed in a broadcasting capacity are Tim Ryan, Gil Clancy, Al Bernstein, Steve Farhood, Barry Tompkins, Jim Gray, Mauro Ranallo and many others. The platform has been an institution and will be greatly missed.
“The company’s decision is not a reflection of the work we have done in recent years, nor of our long and proud history,” said Showtime Sports executive Stephen Espinoza in a statement to staff.
“Unfortunately, in a rapidly evolving media marketplace, the company has had to make difficult choices allocating resources, resetting priorities, and reshaping its content offering. |
19798 | Showtime Boxing to take final 10-count: Top 5 greatest fights revisited
Showtime Boxing began in 1986 and has hosted some of the greatest and most famous fighters of all time, including Marvelous Marvin Hagler, Thomas Hearns, Roberto Duran, Sugar Ray Leonard, Mike Tyson, Evander Holyfield and Floyd Mayweather.
Among the elite-level professionals who have contributed in a broadcasting capacity are Tim Ryan, Gil Clancy, Al Bernstein, Steve Farhood, Barry Tompkins, Jim Gray, Mauro Ranallo and many others. The platform has been an institution and will be greatly missed.
“The company’s decision is not a reflection of the work we have done in recent years, nor of our long and proud history,” said Showtime Sports executive Stephen Espinoza in a statement to staff.
“Unfortunately, in a rapidly evolving media marketplace, the company has had to make difficult choices allocating resources, resetting priorities, and reshaping its content offering. While today’s news is certainly difficult and disappointing, it is entirely out of our control.”
MORE: Breakdown of Paramount shutting Showtime Sports
Espinoza couldn’t be more right in relation to the “long and proud history” of the company. |
19799 | Showtime Boxing to take final 10-count: Top 5 greatest fights revisited
Among the elite-level professionals who have contributed in a broadcasting capacity are Tim Ryan, Gil Clancy, Al Bernstein, Steve Farhood, Barry Tompkins, Jim Gray, Mauro Ranallo and many others. The platform has been an institution and will be greatly missed.
“The company’s decision is not a reflection of the work we have done in recent years, nor of our long and proud history,” said Showtime Sports executive Stephen Espinoza in a statement to staff.
“Unfortunately, in a rapidly evolving media marketplace, the company has had to make difficult choices allocating resources, resetting priorities, and reshaping its content offering. While today’s news is certainly difficult and disappointing, it is entirely out of our control.”
MORE: Breakdown of Paramount shutting Showtime Sports
Espinoza couldn’t be more right in relation to the “long and proud history” of the company. Thanks to Showtime Boxing, fight fans have been treated to some of the greatest moments in the sport’s history and that should never be forgotten. |
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