Fair Use My Ass

“Fair use” is the right of the public to make reasonable use of copyrighted material in special circumstances without the Copyright Owner’s Permission. The United States Copyright Act recognizes that fair use of a copyrighted work may be used “for purposes such as criticism, comment, news reporting, teaching, scholarship, or research.”

Multiple artists and labels are suing AI music companies like Suno. Round Hill Music says:

“We are against the idea that you can build a business worth billions on top of other people’s creative work and pay the creators nothing.”

Jason Isbell filed a class-action suit. He compared Suno to The Borg from Star Trek: Next Generation, coldly assimilating everything unique in its path.

“People feel really good when they’re creative,” Suno’s chief executive, Mikey Shulman, said in an interview. “The company exists to let people feel those warm and fuzzy feelings of being creative.” More than 100 million people have created songs with the service, Suno says, and two million people have subscribed to an upgraded plan that includes commercial rights to the songs they’ve created.

Sony, Universal, and Warner all sued Suno for copyright infringement in 2024. Warner has settled with Suno, BMG has signed a licensing deal with them, and Sony and Universal have signed agreements with other A.I. music companies. Having gotten scorched by Napster and other disrupters (50% contraction estimated in the early oughts), the record companies are in “if you can’t beat ’em, join ’em” mode.

The legislative director of United Musicians and Allied Workers is treating this as a threat to anyone below the level of musical superstar:

“No one has explained why it’s a good idea to start making music without musicians being involved.”

I’m enjoying the fact that the fake number one song is a macho white guy grievance tune. Just perfect, somehow.

I’m Not Impressed

This goes absolutely nowhere.  I think AI will end up being just another tool.  Many young people already prefer older music, and I think that will continue the more artificial music becomes.

Sludgefest

A few years ago, a Canadian musician slowed down a few Chipmunks songs to 16 RPM, and it’s kind of awesome. The singing is pretty good, and at that speed, it’s all gothy and moody. Like you have anything better to do today.

0:00 Call Me
6:12 Walk Like An Egyptian
13:00 Heaven Is A Place On Earth
20:58 Diamond Dolls
27:17 You Keep Me Hanging On
35:28 My Sharona
43:25 Always On My Mind
50:13 Refugee

What Are They Dancing To?

Here’s a Scopitone of Brook Benton lip-syncing Mother Nature, Father Time while bikini girls apparently dance to something else.

If you’re unfamiliar with Scopitones, they were music video jukeboxes typically placed in lounges and similar adult-oriented locations.  It seems that most Scopitones, like the later music-video format, were more about the girls than the songs. (I remember child-oriented ones, but their format and machines had a different name).  The videos often had the hubba-hubba vibe of 50’s-60’s softcore men’s magazines (like here and here).  Although Procol Harum did one, most rock acts snubbed Scopitones. I imagine they’d started looking dated, like something their dads watched for cheap thrills, down there with carnival peep-shows.  One novelty was a live Billy Lee Riley one, unusual in that it’s not lip-synced.

For you film nerds: I can’t verify this, but I know I read somewhere that French (who invented them) Scopitones used Pathecolor, a very early film tinting process that used stenciling.  Wikipedia claims that the last use of Pathecolor was the 1954 Mexican surrealist classic, Robinson Crusoe, but it’s often stated that it was used in that august cinematic masterpiece, Dr. Goldfoot & The Bikini Machine.