Okay.

I actually think you're absolutely right, Jason.

You should not allow anything.

And that goes for any artist right now.

I think no artist should be allowing any of their future music to be trained on AI.

All right.

And I know that's a spicy take, but I'm telling you why.

I feel like having an application process for co-creation, for collaboration, for having a network ability so that you can get matched up with people who you resonate with or who are going to help you co-create together, I think is an interesting area that we can explore more.

I just had to tell him gracefully, no thanks.

This is very...

This is very Dolly, just the whole story.

I mean, if you know the story of how I Will Always Love You was written, because a lot of people might hear that song and just think it was, oh, this must have been about someone like she was in a relationship with or was like romantic with or something like that, because some people have said it's the most romantic song written of all time.

It's actually, she wrote it originally for someone who was kind of her manager slash mentor, duet partner, producer, television partner, like a real business relationship, actually.

Porter Wagoner.

And They basically worked together early in her career, and he really put her on the map in a lot of ways and was a hugely instrumental beginning of her career.

take i

OK, what is the answer? We are all one.

All right.

Like, this is interesting because substantially human made is a cool concept.

I kind of like the idea of that.

I like that.

OK, we're putting together some guardrails for this AI generative music that maybe is is weighted towards humanity.

But.

What does 2.4x growth in a year mean for the thing that you're betting your catalog against?

[laughs]

I would have to give him some props, though, 'cause I had to walk in there.

Me and Duke walked to a tree, and walked the Duke's dog, and Flesh was treated another 300 farther on.

And I walked onto her, and he did drive down the side of a corn field to pick me up.

Yeah.

But I'm in kind of a bind on that one 'cause, uh, unbeknownst to me, uh, well, I did know it, but I didn't pay any attention, I'm leaving for Belize Sunday.

commie? I'm voicing.

I actually think this is great.

I don't know.

Of course he would think it's great, Chris.

Capitalist pig.

Yes, absolutely.

What I think they're really trying to do here is they realize the slop music is... killing their reputation.

Is that too much to ask? 90%?

Maybe there's other people here that have a different take, like you, Chris.

You're calling me out already, eh? You know, my take on this is...

It's a foot in the door technique for Spotify to start owning the ecosystem.

Do y'all remember when the Internet was cool and Facebook was cool and everything was like, oh, we're going to connect with our friends.

We're going to it's just going to be students on the platform.

Right.

Everybody was there.

And is this your decision versus your distributor? So the question at the table is, is licensed fan remixing a new distribution surface or is it renting out the one asset that you actually own for a share of an add-on subscription that nobody has even priced yet?

And, um, so I'm treating it as a win.

I don't know.

I think this is fascinating because, you know, the last story we just talked about was about who gets paid.

This one's about, like, who gets to negotiate their pay.

And Europe, specifically Germany, is interesting because they have all their artists and session musicians in sort of this collection society, right? And so they're able to move more quickly on regulation.

So what's interesting to me about this is technology is not changing, right? Um, it isn't moving faster or at different speeds.

Technology is moving at the spa- same speed.

And so the question is, [lip smack] uh, if the majors keep growing on a handful of catalog and superstar names, what's the actual strategy for everyone else? Do we try to compete for that lane, or do we leave it?

I'd love to hear.

I've been, I've been commenting after everyone.

I'll g- I'll, I'll go first this time.

So y- you're-- I don't think...

Yeah, Suno being hacked is not the story, right? It's, uh, the story is that AI companies are leaving...

I think they're leaving the, like, move fast and break things philosophy and entering a kind of show your work era.

So, and my que- I guess my question is, like, if Suno had licensed every song from day one but they made a worse model, would artists trust it more? I don't know.

Yeah, there's somewhere exactly where-

you

did that.

Brilliant.

And watching us at Chelsea the following week, got the 90, I think it was the 85th minute, and Di Matteo scored for us to lose 1-0.

Hope he doesn't do anything significant against us this season.

I'm sure it's the last time we'll hear about him.

And then afterwards, you know, we've got the point that Nottingham Forest, beautiful goal from Janinho.

Were you there for the Coca-Cola Cup final?

But the other miners let her know that a woman, and a Black woman at that, wasn't part of the boys' club.

My mom's a hard worker.

She said, "I'm gonna prove to you I can outwork you, I can outthink you.

Uh, I'm gonna treat you with love and kindness regardless of what you say or do to me." She said, "Sometimes you just gotta let it roll off your back and keep on doing what you gotta do." And she had a guy that was always wanted to tell her the N-word jokes.

She said, "Oh, baby, I ain't got time for that.

I tell you what you do.

Write them out for me and let me read 'em." So every day, he writing these big, long jokes and she would just fold 'em up, fold 'em up.

On April 5th, 2010, a little after 3:00 PM, one of the teams at Upper Big Branch burrowed into a pocket of methane gas that exploded and ignited the unventilated coal dust.