?  ? So I want to play something for you, but first want to call out that in 1905, John Philip Sousa predicted that recordings like the   ? phonograph would lead to like the demise, the ruining.  Of music. So I'm going to play this real quick.
  ?  ?  ?  ?  I've been writing till my thoughts expired Found soul in the tunes I've spun  Lost it to the code and data 
There's no telling where my songs have been  Been wondering about the muse that's flown  Hoping notes still flutter better 
All the  cold that replaces The  end Inspiration  from those faces of musicians 
long ago. 
 
  ? That was created.  By a program called UDIO a U D I o.com, which is absolutely crushing it right now in terms of being able to generate music. Generate music from a just single series of prompts and basic editing inside of an AI driven creation. That is not a human, that is not a musician in the background. 
  ? That is not. Lifting are stealing direct tracks, though. It clearly has been trained on a massive Corpus of artistic creation.  And it's disturbingly. Good. And I don't know how I feel about that. And I think there's two classical mindsets here.   ? Ah, there's the party of doom or the sort of party of bloom. 
  ? More, more is better. More is abundance and I can wear both hats, but going back to that   ?  ?  ? 1905, John Philip Sousa, who was an American composer and conductor. In that late romantic era, he was the primarily known for, I guess, the American military marches. The March king, as he was known.   ? And his concern encapsulated in the following   ? quote.  
   ?  ? The time is coming when no one will be ready to submit. Himself to the enabling discipline of learning music. Everyone will have their ready-made or ready pirated music in their cupboards. The Nightingale song is delightful because the Nightingale herself gives it forth.  
 I think there is an element of truth in that, and, you know, Every single technical advance has always had that party of doom Sayer in it. And.  I'll also note that this is somebody who is coming from a significant amount of privilege in a generation where the,   ? for example, music of Beethoven could only be appreciated. By those who could afford the entry to the concert halls. 
Not saying other communities didn't have access to music, but it would be music that they were creating. And so.   ? I think. This is one of those moments where we're going to see people on both sides, but artists especially saying. You know, this has been stolen or trained or lifted. This is going to be, you know, taking our livelihoods.  And I think there's a case to be made on that side for sure. It it's amazingly good. And clearly, you know, there is probably. A folk songwriters singer out there. 
  ? Who's like, that is basically my voice, but not my voice. Though it is an amalgam of AI generated information.  That was created on it.  However, I also want to say on the party of bloom side, right?   ? The opportunities that this may grow, the pie, turn more people into musicians, create music for one. How might this may, you know, may even help people may be suffering from certain pain or loss. Or just letting them create something that is just for them and speaks to their experience and helps them. 
  ? And I think there's maybe some amazing things that can be done if we explore it that way. But.  I don't know what party I'm in right now for this, but I just thought I would, I would bring it.  To.  The nonprofit audience and. I'm just curious about how other folks begin to use this. I encourage you to play with it. And just understand what it can do. 
And that's U D I o.com. And I'm curious about.  Probably more so how you bring this to community stakeholders that it could help potentially unlock more creativity. 
And personalization for a purpose.  ?  ? 
 
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