Olivia Dean Leads Soulful Revival While Souless AI Music Climbs the Charts

Episode Transcript
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Speaker 1 (00:01):
Podcasting since two thousand and five. This is the King
of Podcasts Radio Network, King of Podcasts dot com.

Speaker 2 (00:08):
To say I've been obsessed over Olivia Dean is an understatement.

Speaker 1 (00:15):
The King of Podcasts Radio Network proudly presents to the
Broadcasters Podcast here is the King of Podcasts where.

Speaker 2 (00:25):
They kind of just came together. This week, we're gonna
talk about two different areas of music. New music that's
coming out from real artists, real artistry, great music that's
generational talent. And then there's AI music that's coming out
that for some reason has started the chart. We're gonna

(00:46):
go into all that tonight here on the Broadcasters Podcast,
a good music episode to go ahead and bring all
of you. Of course, if you're catching the show for
the first time, you I would hope you'll go ahead
and subscribe to the show via Amazon Music, Apple Podcast, Spotify, YouTube,
YouTube Music. Please go ahead subscribing my YouTube channel. And
if you are catching the show, because when I do
these kind of episodes, it does catch a little bit

(01:08):
of interest and you know, I might get some newer
listers off of this. So if you do, I hope
you'll get a chest and give me your feedback. On
the episode and other episodes that I do, and you'll
get the same of my other programming, because this is
fascinating to me when I have been talking so much
about artists and seeing if anyone can cross over into

(01:30):
the mainstream, and then I see the run in the
last week of Olivia Dean in North America. Now she's
already dominated Britain her home, and she's been significant for
most of the year, and it's only in the last

(01:51):
month or so really that America is catching on. It's
always like that, and the same thing goes for other
artists that come across that are on that same wave.
And I'll put it to you like this in a
way when I see just in the last week or so,
Olivia Dean perform on Saturday Night Live Ray performing on

(02:15):
Tonight's show with Jimmy Fallon, and I'm saying to myself,
this is kind of a callback to Neo soul that
we had in the early two thousands, which is where
we got incredible voices like Alicia Keys, Angie Stone, Jill Scott,

(02:35):
Remy Shannon, many others. And I'm just remembering all of
what we had from that and it was what a
wonderful time there was for music to going to get
back to that, because the neo soul movement was another
return to soul music of the sixties and seventies. And
what I feel right now is what Olivia Dean's given

(02:56):
to me right now is traditional soul music, a classic
feel to it. You can hear a lot of the inspirations.
She's an individual, no doubt about it, an individual, breakthrough
artists with an amazing sound, so fresh, so vintage, but

(03:18):
yet so pure. And you know, I don't even when
I listen to music, I really am big and to
listen to the lyrics, I'm more into the rhythm and
the beat. And so when I'm paying attention to the
lyrics here and I hear this, I hear Lyvia Dean singing,
and I feel like she's singing to me. It's feels personal.

(03:40):
It feels like I wish every woman gave me the
kind of feeling of warmth and love that she does,
because Olivia Dean gives that to me. And you know,
it's more than just her beauty. It's more than just
her fashion. It's all of it. And I wish we
had more artists like her. We've had artists like that obviously,

(04:02):
but to that point, she's modest, she's fun. I mean,
I've seen a bunch of interviews with her my TikTok feed,
I have seen hundreds upon hundreds of videos, And don't
get me wrong, it's not like I'm just catching on
to her right now, because when I caught on to
her early on is because of my exposure to music
and the British music scene via the official charts on

(04:25):
BBC Radio One, which I listened to every Friday for
Friday Morning, which is Friday afternoon in the UK. But
I look through it and I think about the fact that, okay,
when it comes to her career so far, it was
already starting off roll for her before her album The
Art of Loven came out on September twenty six. Now,

(04:46):
prior to that, you had her song Nice to each Other.
That's when really everything caught on and I started listening
to it, and I wasn't paying attention to much. At first.
I thought she was part of the group Jungle because
I saw the video for it. I was like, isn't
that that group that you know? Back on seventy four?

(05:06):
I thought it was like she was like somebody I
saw from that song and caught my attention. I was like, oh, okay,
that's I dig that. It's like that the old school
kind of feel to it. But then, you know, I
listened to that song over and over. This song has
been climbing and it has been there in the top
ten and it's reached its highest number four. Currently it's
not there, but after the Art of Loving came out

(05:28):
as an album, the song resurfaced, but there have been
other songs that came through it, and I think that's
what happened, is that I heard nice with each Other
and then I heard, man, I need second single. So
again the push out here for this album. Two singles
we get right off the bat, or you know, you
could say there was Yeah, it was really two that

(05:48):
really came in. And then we had a couple other
songs that also brought in ray Me in which a
duet was Sam Fender. Great song she stands out great,
really really cool song, and that debut in and then
it got to number ten on the official chart in
the UK in October thirtieth, a couple of weeks ago.
But it's also been up there before and it's like

(06:10):
it's kept itself in the top forty for a while
now and then Man I Need is a song that
really caught the attention of America so far at the moment.
The song was released August fifteenth, reached number one in
the middle of just just before Taylor Swift's Life of
a show Girl album came out and fed of Ophilia,

(06:31):
which has dominated the chart now ever since. But Olivia
Dean was able to go and beat out Golden and
Huntricks the K Pop Deewan Hunter song which was sitting
there for like I forget if it was like eight
or nine weeks, maybe more than that, but it not
Golden off the chart and there's still competition with Alex
Warren and Ordinary among others. And she made it and

(06:56):
the song hit number one. It has stayed around the
top three now. I want to say five or six weeks,
because if I go ahead, listen to the official chart
this week, maybe the Christmas songs will be in there.
But like the last four or five weeks, it was
Alex Warden, Ordinary like outside of it, but now it's
been Golden Fate of Ophelia Man I Need all up
there towards the top. But again now it's consistently number three.

(07:19):
And then for Olivia Dean in the UK tells you
everything you got to know about her that when the
song debuted at number one the single, it was also
where the album reached number one the following week, and
it did it, which is not easy for many artists

(07:39):
to go and do that. I think Charlie X six
has done it, Taylor Swift has done it a bunch
of times. You had a grande's done it like you're
in real, real class, you know, competition to be able
to go and sing in the chart. Competition that you
were able to go and have a number one single,
a number one album that can be done in the UK,
and it happened for her. And then you had songs

(08:01):
that are now making their way in and they are
starting to go in chart. So towards the bottom end
of the chart when the album came out, you have
twelve songs and everything started going to come into place.
So then you had a couple of minutes that has
started to creep its way up and at the moment,
I believe that that song and Baby Steps are on

(08:24):
the bubbling Billboard Hot one hundred charts outside of the
Hot one hundred and we're we're working its way up,
but it is in the last couple of weeks. So
Easy to Fall in Love and Nice to each Other
finally made their way into the Hot one hundred. Now,
how I was gonna go and stand out out outside
of the Christmas songs. I hope it does, but we'll
see how it works out. But you see that there

(08:48):
and then you see what goes on and how her
performances has been. She's been out there touring, you know,
she's been out there touring a lot in the UK
and then Great Britain and all that. But then the
North America tour has been announced. She's gonna be touring
here all throughout the States, and the album is picking

(09:09):
up steam.

Speaker 1 (09:10):
And there was.

Speaker 2 (09:13):
A couple of appearances she's made for Saturday Night Live,
Today's Show and Saturday Night Lives. She did sibilism songs,
she did Mean I Need and that, she did Alone,
Let Alone, the one you Love But I'll tell you
then you have So Easy to Fall in Love also
a song that's got my way up there, and that
was when I caught that song on Spotify, And you know,
it's like when you hear her music, you know what

(09:38):
song it is hers, and she now has signature sounds
to herself, the humming that she does in her music
and the way her cadences like when I see other
people that are trying to go ahead and cover the song,
just you know, they want to go ahead and do
a little karaoke, do the song themselves sound great, but
they don't have it where she sounds like it. It's

(09:58):
her look, it's her stuf. I don't think I've seen
a moment where she doesn't look amazing. She sounds amazing,
and this is the prime of her career and well
deserved because for her, she's been waiting for this a while,
because prior to this, she had already put out a
number of EPs beforehand, Ladies Room, if you know what

(10:20):
I mean, Growth, and then MESSI was the album that
came out two years ago, and then she made her
way over here twenty one. Amazon Music called her the
Breakthrough Artists of the Year and BBC Music introduced her
as Artists of the Year in twenty twenty three. So
people hadn't been talking about her for a while, but

(10:41):
she absolutely encompasses Neil's soul music in general. She's just
there it's incredible, and she's so young, and there's so
much more to her career that she is she wants
to go do. But right now I think the star
is just there's no way to stop this from going.
She's gonna go to the moon. She's got it. So now,

(11:04):
the North America Tour is all set up, fourteen stops
in North America between July and August of next year.
She's gonna be in San Francisco, La, Las Vegas, Mjim
Green Guarden Arena, while she's in big stadiums as well.
She's in Arenas, Chase Center in San Franz that's the
home of the Warriors, Crypto dot Com Arena, home of
the Lakers, Salt Lake City, Utah, Colorado. That's the home

(11:27):
of the Denver Nuggets. Target Center Minnapolis, Minnesota. The Scotia
Bank Arena in Toronto, the Bell Center in Montreal, Boston,
Massas US. It's Baltimore, New York, Atlanta, Houston, Austin, No, Miami,
No Tampa.

Speaker 1 (11:43):
Now Orlando.

Speaker 2 (11:44):
Oh that's too bad. That's okay. Maybe down the line
they'll add some more dates. But again that's all set
in the play and tickets are going to start being
man available this Friday as a record, and you can
go and find for yourself. There's a story I'm taking
from here calling her an overnight sensation. Well, either which way,
she is a very talented overnight sensation. Now let's go

(12:05):
into the winning streak she's had right now that bill
Board has actually talked about the fact in her American
presence right now for herself at the moment in America,
here's what's happened for her to her highlights. The Art
of Loving started off at number seven, and it has
gone in its third week. It's now number six on

(12:25):
the two hundred charts. Man I Need as a single
on the Hot one hundred, hit a new high at
number eight on the Hot one hundred and was reported
to be number five for the weekending number fourteenth. So yeah,
now it is at number five, and that's a wonderful thing.

(12:45):
I mean, very tough to get to that high on the chart,
especially when you're you know, especially when it's crossover, because
we haven't had much crossover as of late. The country
gets a lot of crossover into the place, but we
haven't a lot. A lot from rap has been kind
of like off since Countrick Globe and then for anything
R and B or soul related that's been a while
as well, But there we go. And when you hear it,

(13:07):
it's like, don't forget that there's all instrumentation here. I
don't know if you're using anything did at all in
the studio or when they're on stage because everything is instrumental.
And that's also a throwback here. Her look is like
it's like her own style of Coture. Put it like that.

(13:28):
I'm just obsessed with I'm amazing, writs. I'm blown away
by her. She's amazing, and I'm really glad that she's
having the career that she has right now, that she's
gotten the American crossover. Maybe that's not some import for
everybody else, but like for me, I like to see
when artists like this that I want to get behind
can go and crossover like this. And this was a
huge thing here.

Speaker 1 (13:48):
So for her.

Speaker 2 (13:51):
She's now in the top five of both the Hot
one hundred and the Bilbard two hundred for the weekending
November twenty second, and she's going to continue the sore
her catalog right now. According to Billboard and Illuminate, she
don't have twenty one million official on demand streams in
the two day period following her SNL debut, and that's

(14:12):
twenty three percent up from the streams her catalog pulled
the week prior and then following her Saturday Night Saturday Night,
I Have a Performance is a Man I Need? And
let Alone the One You Love, her catalog went up
one hundred and twenty percent, and you just digital sales
twenty six hundred digital downloads sold in the past weekend.
And like I said, let Alone the One You Love.

(14:32):
It's like I didn't go to sample of the entire
album right away, but like the singles just kept coming
across other songs that people just kept streaming, and they were,
you know, bubbling up to the forefront on Spotify every
wherever else or on the charts. I noticed. I'm like,
oh boy, she's got it and it's great. It's great
to see here. Man I Need actually hit number four

(14:52):
this week on the Hot one hundred and got great sales.
She has another song, let Alone, that also got them
their boost. And between her SNL debut are recently announced
four night run at Madison Square Garden and the after
glover first Grammy nomination, the world simply can't get enough
of Olivia Dean and the album The Art of Loving. Yeah,

(15:15):
I didn't even forget about that part four nights at MSG.
Big deal. This is, you know, solidifying her spot right
now in the mainstream. She's making it. She's here and
it's this I want to see her going and stand
to us as well. And that's also kind of been
a good thing for the areas of R and B

(15:36):
all so as well, because we're starting to see that
there are names that are doing pretty good in the
same way some of Walker's been out there putting out
the new music. Chris Brown's been doing well. I hope
we're not so big about that, but you know, hey,
and there's any indication of how she's gonna do. Will
she win the Best Through Artist at the Grammys. There's
a lot of competition there. But a story I'm taking

(15:58):
here from the style column of nine dot com dot u.
They mentioned that what her rise is now is meteoric
from relatively unknown to industry stand out in twenty twenty
five and the King the single the kickstarted at all
for her was Okay Love You by the scept of
the immigreeting current was a pre COVID offering Circuit twenty nineteen.

(16:21):
Where you could put her in the pop girl renaissance
that we have now is Chapel Roon, Sabrina Carpenter and
Charlie XCX. Her offerings are a decidedly lower frequency, although
equally resident in nature. There's no denying that the Man
I need hip Maker exudes a certain magnetism on stage
and effectious and affectious effervescence of it. But it's not
just her musical offerings making ways. As of late, her

(16:43):
wardrobe is garnering an equal measure. Yeah, whoever's dressing her
is doing an amazing job. She looks good in everything. Again,
She's got the body for it. She's got a great look.
Her face card is like massive. Now they talk about
what she's done, where she's performed at the ARI Awards,
was the big chart company in Australia, and how she's

(17:06):
looked out for this, going to Burbery wearing Burbery for
Burberry on behalf of Burberry at London Fashion Week and
you've gotten designers all over the place that want to
go and dress this woman up. It's all good like that. Now,
what does this mean for the bigger expansion for R

(17:26):
and B because we've talked about R and B getting
a come upance once again from what we remember the
eighties and nineties and all that, you know, what came
out of soul and what we've had now that is
we're seeing that R and B has gone through a
lot of changes. We're not there with the groups anymore,
with the harmonies like it was. No, we have a
different feel of it, and there's a global expansion of it,

(17:50):
and that's where we need to go and look at.
It's just like rap, it's gone worldwide. R and B
has also been worldwide, so it's who out there they
are taking the place of what is coming up now,
So storm ticket for OK Player. They mentioned the fact
that R and B's impact took a back seat in
early twenty ten's where pop and hip hop battle for

(18:10):
the mainstream spotlight. And if there was anything R and
B feeling, it would be always as like a bit
of a feature, or it would be some song that
would have some kind of hip hop feature on it,
but that kind of went away. Hip hop has been
on its own standing on a song, so they've been
the the baits in recent years. If R and B
was dead, but they're stuck in the mindset that relies
too heavily on nostalgic hey days. Two of them remains

(18:32):
stagnant and rather than accepting the sounds growth. But R
and B's everlasting with artists all the new breathing life as.

Speaker 1 (18:38):
To its core.

Speaker 2 (18:41):
Now Usher, who's a pioneer in R and B, who's
been around since what ninety three, I want to say
it was when I first heard of him and when
he was doing styles out there, and I've haul of
his career ever since because I was in college radio
at the point. And he says, quote, I'm very happy
there's a new installation of R and B artists who
care to be authentic of what they're creating, inspired about

(19:02):
artists of the past. Everyone has ever said to me,
the R and B is dead sounds crazy, especially on
the origines of R and B or in all of
the genres of music. So according to Nielsen's ear End
Music Report for twenty twenty four, on demanding streaming grew
the three hundred and seventeen billion streams in twenty fifteen.
Actually in this particular one and for that music and

(19:24):
Now is from one hundred and sixty four billion songs
streamed the prior year. Prior that's the equivalence of two
hundred and eleven point five million stream equivalent albums streaming
platforms Spotify, Apple Music, title being a big part of it.
So contemporary R and B that we all know that
you know, you can think about with jodas here, Shy

(19:46):
or High five or make Condition or you know, whatever
you want next one twelve, we can go through all
the artists jacket Edge. We could go through all of
them and go through a long life. But it's been
given a facelift because there's been ambitious artists who are
unafraid to inject your love for sounds pop, hip hop, country, afrobeats, electronic, disco,

(20:12):
alternative and endie into the genre and R and B
and the beauty of it lies within the emotional storytelling,
unforgettable building bridges and hard string pulling melodies. It might
sound different than twenty twenty five with the New School
embracing more fluid boundary blurring approaches, but the foundation is
still firmly in place. Now they talk about the groups
that are the artists that are out there, that it's

(20:33):
a what they call a kaleidoscope of creativity, Kilanie who
also has a song Folded, and other songs that she's
also getting out there that are getting some good promise.
She's getting some good stuff right now. I like a
clot of her stuff, you know. After Ours was a
cool song, had a nice little agrhythmic thing to it.
And then we did have some artists that really made
their way up when you have they talk about here

(20:55):
the spiritual energy of Klanie and jenay Ico Walk of
the hip hop Swiger of bryceon Tiller, Brent Faz, the
cool girl vibes of Kalela, Todash's John Ree, blurring pop
R and b Fka Twigs avant garde sensuality says is
embracing a black girl next door, a little bit reliability,
Coco Jones, Victoria Moon a Jasmine Sullivan flow. You get

(21:18):
all that from there, and then they bring talent in
the mix where she has her diasporic melodies, Lucky Day.
Leon Thomas, who you know before Mutt and Miamis and
all those other songs that he did. He was, you know,
very complished songwriter for a lot of artists. But what
the latest R and b X are accomplishing is not

(21:39):
new because we've seen the evolution of R and B,
because we had the neo soul movement which I mentioned before.
I should have mentioned Eric Abadou, the Angel Delate d
Angel unfortunately and hip hop soul which will shape by
the Newma Jack swing in the eighties where you had Maria,
Mary J Blige, Maria Carrey infusing R and B and
hip hop and pop. And then of course you move

(22:01):
forward Alia Dustiny's Child TLC and then more contemporary artists
like Tony Braxon and Jennet Jackson into the icy sounds
at that time. So it's always moved and changed and
flowed in different ways. Now they go on to talk
about the fact of what we have now today we
have artists that are now to the forefront that are

(22:23):
coming from other areas. We got Burner Boy, wiz Kid,
Mister Easy, Tia Savage and other West African sounds to
bring in the afrobeat sound. Taler Thames, you know Aristr
you can bring that a mix as well. Then the
British artists were getting that have also always had a
soul fulfilled to themselves Cleo Soul, Georgia Smith, Nao La
May and now a new way with K to B

(22:43):
n Flow Olivia Dean breaking into the American R and
B landscape through social media visibility and playlist discovery. So
this story continues to say that the current state of
R and B could be more exciting us. Today's class
of genre benders continue to embrace freeness. For instance, right
now they're getting Grammy nods because Killowne's Folded is getting

(23:06):
Grammy nominations for Best R and B Song, Best R
and B Performance. And they close out and saying that
a new generation has musical insight and all the necessary
tools on how to keep R and B alive. You're
just doing it on their own terms. I love that story.
I love to go and see that they're putting that
out there. So that's the fun part of the music
scene now today. But then the other side of the

(23:28):
coin AI music this is concerning. It's disturbing, and I'm
a little bit worry about this because you know, I've
gotten caught onto that and one of the songs I
heard that wasn't AI song. Apparently I didn't know about it.
But Haven's I Run? Apparently that is all an AI hit,

(23:51):
and I didn't know but the song got viral on
TikTok and it was running and I'll tell you, I
see how it could happen. So the track used AI
to Altra's vocals. There's illegal firestorms that used Georgia Singer's voice,
Georgia Smith's voice without permission. Kristen Robinson raised about this,

(24:15):
and she makes a point about this now's I can
tell you I got onto this song and I wouldn't have.
You could have clearly passed it through me and I
didn't know it was AI. It could have gone on
like any other EDM song, just had a beat, had
a good feel to it. I don't know, man, but

(24:36):
it just happened.

Speaker 1 (24:37):
Now.

Speaker 2 (24:39):
This medium track by the artist Haven was viral sensation
online millions of players on TikTok after it was teased
on October tenth, and then one commenter said drop this
right now please. So Haven is a new artist project
from British producers Harrison Walker and Jacob Donahue making music
under the name Waypoint. It was her debut of how

(24:59):
they could change the trajectory of their lives. But now
legal complains to take down on this as are engulfing
the song, resulting it and being removed and a re
uploaded streaming services multiple times, stopping the momentum it was
to reach the Billboard charge. Because they had a chance
to make it, it got the attention of Georgia Smith,
the popular UK R and B singer. The uncredited female

(25:20):
vocalist on I Run sounded early to Smith, probably the
singer to post a video of herself on TikTok, saying
she asked the caption who actually is this and noted
in a comment it's not me When fans asked as
she sang on the track or not, the video has
been deleted. I hope she gets to do this song.
Let's just put it like this. Let's take this out

(25:41):
of court, and let's let Georgia Smith actually sing this
song for real, because this is a song she should
actually sing. Someone should replicate this for real because this
was good. At least, I'll say this. We don't need
songs of AI to become hits. If you want to
use AI to then use it as a prototype of

(26:05):
an actual hit that will get produced and recorded. I'm
all for that. But we can't let the machines run
the music. We can't let where machine generated music can
actually be able to be popular. It should only be
a prototype. It should never be a song that gets published.

(26:25):
Those songs should not get published. I just don't believe
that it's right today unless you absolutely tag it as such,
or there's just a genre of it differently. I don't know,
but I'm not.

Speaker 1 (26:35):
Big about that.

Speaker 2 (26:37):
But I will say this, you have to respect the
fact that AI is so powerful it was able to
make that moment because it did, and somebody made some
money off of it. So questions started being asked about
Haven's viral track and whether it was or not an
unauthorized AI deep fake of Georgia Spith's voice. Song is
released in late October by Kai Records, Broke Records at

(27:01):
AAO Records and got major listenership. The song got to
number eleven in the US Spotify chart, number twenty five
globally on Spotify, and a song kept going viral on
social media. Hell offset the rapper who's with Cardi B
actually or was he still? I forget now, I don't remember. Anyway,
he was doing the Bowler Room DJ set and he

(27:26):
overlaid the video of texting unreleased Georgia Smith, but the
song was not actually used during the recent boiler Room
set anyway. So there's a lot going on here. So
there were lots of takedown notices for Irun upon his
official release, Screenshots of notices and various issues with the
song that the song misrepresents another artist and it constitutes

(27:51):
copyright infringement, and this is very concerning, and I hope
somebody figures out what goes on here. But the song
got out there and it made a big difference. That's
the one that really caught my attention more than anything else.
Now I've played it for you, But of course there'll
be some copyright striker whatever it is that it would
get and that's okay. But respectfully, Billboard not allowing a

(28:15):
song like that to go and get on the chart.
I appreciate that. I don't want the Hot one hundred
to be consumed with AI music. I hope it doesn't.
So Billboard decided that dozens of takedown not as a
result in the track being with hell from the Hot
one hundred and other charts, and that Billboard reserves the
right to withhold removed titles from appearing on the charts
that are known to be involved in active legal disputes
related to cover in infringement that may extend the deletion of

(28:38):
such content on digital service providers, which covers them for
any songs that might be AI and they get pulled.
That's okay. I agree with that. Another song, Walk My Walk,
topping the US one of the US Billboard charts. The
song by the artist Preaking Russ, garnering three million streams

(29:00):
on Spotify and less than a month. This is anem
an AI generated track hit number one on the on
a chart, the Country Digital Sales Songs Chart, and it's
also tracking on the Spotify Viral fifty chart. And another
saw of these tracks on this artist, quote unquote, living

(29:21):
on borrow Time, has reached number five on the same
chart with over four million streams of the platform. The
creator breaking Russ is you have to reveal identity. Beneficial
TikTok page for them has over two hundred thousand followers
or close to that with what My Walk featured in
over one hundred fifty thousand videos on the platform. So

(29:41):
there's been more of this. We had an AI generated
band called the Sundown making head signs because it gained
around four hundred thousand monthly Spotify letters. We didn't talk
about it, but what didn't happen? And then a spokesperson
for the viral act leader a minute he was running
a hoax aimed at the media. Then you have AI
generated artist Zenia Money being in the headlines, first signing

(30:04):
a multimillion dollar record deal, becoming the first AI artist
to chart on the US Billboard rankings. The creator monay
A Mississippipont, and the designer Talisa and Nicki Jones has
spoken out in her first interview, saying that she looks
like a Money as a real person and about the success,
she says that quote, anytime something new comes out and

(30:25):
it challenges the norm and challenges what we're used to,
you're going to get strong reactions behind it. Yeah, but
we just don't need this. I want to be able
to have music stayed consistem. It's already enough we have
digital music and so much being done digitally without any instrumentation,
where we don't have anybody doing instrumentation at all, except
for country music, I guess, and other genres that are
not overly popular, more underground. She hit out the success

(30:48):
of Mona, saying that fans on TikTok, the proliferation of
AIM music was so beyond out of our control, and
that the highlighting the power of AI to create fully
formed songs without users having the credit anyone involved making
the copyright works on which generative music systems are trained.
And there's a lot of examples thin this. The other
one we have to the Christian iTunes charts, AI music

(31:12):
also topping there. So let's get into that.

Speaker 1 (31:17):
Now.

Speaker 2 (31:18):
Christian music has gotten quite a renaissance right now. There
are a lot of artists doing really well and you
know when they going tour, they're getting big audiences. Christian
music has done really well. Let's just say like that,
a number of Christian songs continue to be outside the
hot one hundred on a regular basis, with some I
see out there that have been sitting there for months

(31:38):
on end just waiting to find a way to go
and break through into the hot one hunter and almost
getting there. So the current number one number two tracks
for Christian music on iTunes is an artist named Solomon Ray,
an AI generative voice of persona created by Christopher Jermaine Townsend,
according to Report and the Grio, a conservative rap artist
or affiliated with Turnuting Point USA. He was by the

(32:00):
Moniker toaufer for his own music and a Dove Award
winning Contemporary Christian Music artist for US. Frank He's very
popular right now, responded on Instagram to the AI persona
topping recent worship singles by Brandon Lincoln elevation. Quote, It's
important that we pause a little bit and ask the
questions like is this something that we want? End quote?

(32:21):
He added a minimum AI does not have the Holy
Spirit inside of it, So I really think that it's
really word to be opening up your spirit to something
that has no spirit end quote. I like that quote.
He's actually very pointing on that. Townsend defended the tools
of AI creating the songs by Solomon Ray, saying it's
really more of a preference. You cannot tell somebody's feelings
an impact for music if it's authentic or fake or fraudulent.

(32:44):
Who am I to say what God will or won't
use to get the message his people need to them.
I'm just here being an instrument. Very interesting that they're
going to say about this and forced. Frank also says
he wants to encourage others to be mindful what they
listened to. So what are we doing about this? Are
we redicting this? Are we championing this. I personally will

(33:05):
not be listening to this. I already don't listen to
secondly your music, and I'm not sure going to be
listened to AI. There's more to it, but that's the
other part we got to look at. Now, what about
the public? How are they feeling that? We know the
artists are critical of AI music out there, but what
does the audience say out there? Well, there was a
story that came out for The Hollywood Reporter that talked

(33:27):
about this. They put out a poll. AI is transforming
how we think about music. So they did an exclusive
well a long with the Frost School of Music. They
did a poll together, a nationally representative survey of twenty
two hundred and forty four Americans revealing a love hate
relationship with AI and star divisions across generations and party lions. Now,

(33:53):
if you didn't know this point, fifty thousand songs AI
generated or uploaded data to a major streaming service, ninety
seven percent of listeners can't tell when it's a fully
generated AI generated track. It's one of the easiest ways
to go and put it over somebody because audio is
just so easy to manipulate. Where you can't tell if
somebody is the same person or if it's AI generated.
That's very tough to goun't do. And another servey about

(34:17):
one or four of all producers consider the using AI tools,
while others may say quietly as the tech allows them
to produce dozens of ideas for cutting a song, cutting
the time it takes to work on a single track, right,
And now I gotta understand that part. If you want
to go and do that kind of thing as a prototype, yeah,
you want to use it to help build out music,
that's the way to use it. But to have it
be the actual finished product. I have a problem with that,

(34:41):
A big problem with that. AI generated robot bands with
mad Lib style names like Burning Russ, Velvet Sundown have
inadityas streamers where can up tens of millions of listens
by spinning out uncanny versions of country rock songs that
just sound a bit off. If a listener cares to notice,
AI tools are democratizing music creation, reshaping what productivity should

(35:04):
look like for a singer or musician. So the Hollwood
Reporter did this study with the Froscol of Music, which
is at the University of Miami, and put out this story,
so they go into the impact among different generations. Right
off the bat, they said that just slightly over half
of America isn't interested in listening to AI music, even

(35:25):
of their favorite artist made it. And more than sixty
prints or more than two thirds of the public said
they have never listened to AI music. That's how they
could recognize a song is AI created. So there's a
third of Americans fine with getting tunes according to the survey,
that they're fine with getting music from the les AI
avatar of pop rap, country, pop rap, country of rock,

(35:48):
and it's playing in the Billboard charts. So here's some
of the findings of the poll. Are you interested in
listening to music from your favorite artist that was made
with help from AI? Fifty two percent non interested, thirty
two percent interested, fifty percent don't know. How often, if ever,
do you listen to music you know what's made using AI?

(36:11):
Two thirds said never, and then three percent multiple times
a day, single digest for daily, weekly, monthly, less than
monthly thirteen percent. Creators making AI music should look for
permission for the original artists when replicating their voice. Forty
four percent of respondence said definitely should eighteen percent, probably should,
sixty two percent, total don't know sixteen percent, and then

(36:38):
twenty two percent said definitely shouldn't, Probably shouldn't. Interesting, And
then you break it down by generations. Gen Zers would
be forty six percent should, and of course it goes
higher as you get older millennials fifty percent should, fifty
two percent for Gen xers that's where I'm at, and

(36:59):
Baby boomers fifty eight percent. And should AI be used
to create music without human musical contributions? Thirty percent of
gen z say should, twenty six percent of millennials say
should gen extras? Fifteen percent more to that, and they

(37:19):
go from other areas that are outside of AI discussions.
When it comes across the board for artists being paid
fairly by extreaming services, there's a pretty much consensus that
say that they're getting paid fair or too little. So
there's a bunch of that. And then if they're doing

(37:42):
concerts or touring, same thing as well, more or less.
And they went through favorite music genre of all these
folks at the moment, twenty two percent is still rock,
very surprising twenty two percent rock, sixteen percent, country rapper,
hip hop fourteen percent, ten percent, pop, R and B

(38:04):
nine percent, and then you have others under nine percent,
which would be classical, alternative, jazz, latins two percent, that's surprising,
k pop one percent. Rock is still for some people
their favorite music genre, and why it's not in the mainstream,
and why we don't have artists that are playing to
that are getting noticed. Let's put it like that. By

(38:25):
the way, I should go and make a mention right
now that for next week, obviously Thanksgiving will be here,
and you know, I don't think it'll be that much
news that they're going to talk about. If there is,
I'll do another episode of it. But I have a
great guest I'm gonna go and bring on that I
already recorded with. His name is Ralph Sutton. He's with
the Gas Digital Network, a really phenomenal rock DJ, hosted

(38:47):
a syndicated show called The Tour Bus. I'm gonna run
that interview for everyone next week on the program, so
you're gonna catch that. So that's my interview with Ralph Sutton.
You'll hear that an hour long and I'll play that
on the broadcasters podcast for next week. Because I gues
said I was gonna do some interviews to fill for
some of the holidays, and of course we'll have some
of the retrospectors of the year coming up that'll be

(39:09):
after Thanksgiving. We'll get that into the mix as well. So,
got a lot of things that are gonna work on here.
A couple of stories I want to bring up in
here tonight. A story from Perrymichael Simon, if you might
remember a few years back, I actually interviewed him here
on the program and keep following him right now. He's
working at Barrett Media writing for them, and he put

(39:29):
out a very point of story I wanted to go
and catch up on because there was a number of
things we're being brought up in terms of radio that's
gotten some attention, and let's get into that right quick.
So he says, reviving the radio industry requires bold ideas,
not band aids. So I just want to take some

(39:50):
highlights out of what he says here. So he says,
we mentioned it takes a lot of creative thinking to
use a hoary closeche It takes thinking outside the It's
not something a business strip of assets or private equity
ownership does well. But if the owners look at the
business is something to operate in a bare bones matter
before unloading on another sucker. There won't be any innovation.

(40:12):
If they're buying the business for the real estate, it's over.
And if they bought in thinking they could succeed where
others had failed, there's hope because they wanted to be
in the business in the first place. So one thing
is about embracing the audience you have and forget trying
to attract those who aren't no matter no matter who
what you do. Broadcast TV's done that. You talk about

(40:37):
me TV, the classic TV shows channel that's out there
that's gotten always pretty well worked on, you know, getting
an audience that's out there. He also talk about well,
I don't know, national formats, not voice tracking or pretending
to be local, but actual saying wherever you are networks
like they have in most other countries. Maybe car radios
can have the AVR capability, so drivers can I started

(41:00):
show in the beginning, sere remake this technically feasible already,
I mean, basically it's what satellite radio is, which, by
the way, my brother actually just told me about the
fact that serious satellite radio is being made available through
the end of the summer. I think it is for sampling,
which I'm gonna go ahead and you know, download them
and get to listen to it. Myself. Haven't done it
in a long time, ever since you know, the days
of Howard. I think it was two thousand and six

(41:21):
the last time I listened to satellite radio. So I'll
give it a shot. Why not. But he closes to
say that offer something that others don't offer, something up
perceived value, and you might be able to resurrect the medium.
In case you haven't noticed, the patient's heading towards flatlining.
The time to start emergency adventures is here.

Speaker 1 (41:37):
I agree.

Speaker 2 (41:42):
We've been following the story from the SCC that they
have been sending common deadlines now for broadcasters pressing for
ownership rule changes. So they have until and December seventeenth
to offer feedback for the pending quadrennial review. At the
FCC initial comment Round, we'll be set the clothes with
the replied comments and the public will have a chance

(42:03):
to respond through Juary sixteen, twenty twenty six. So they're
beginning some new comments and back in September, the Commission
decided to seek more official feedback and also waited for
a federal court ruling striking down a television rule earlier
this year. A federal appeals court in July struck down

(42:28):
the agency's continued ban on same market ownership with top
rated TV stations, and they're also focusing on the local
radio rule, limiting an owner to top to eight stations
in the largest markets with on more than five on
either of the AMFM banned. They're not only looking to
make adjustments to the subcap limit, but also raising number
of stations an operator can have in a market, so

(42:49):
you can have stations in like one city be owned
by this same owner, if you I mean, if it
really comes down to that, it could really be that
at some point. Then the SEC is also going to
examine the local TV ownership rules limiting a single entity
from owning more than two TV stations in the same
local market, and the dual network rule, which prohibits a

(43:11):
merger between or among the big four broadcast networks. So
now you'll have stations, you'll have different network affiliates, and
they can be owned by the same owner. They kind
of have already had that, but like now it's like
they're gonna do even more to allow dual networks. We
were operated as well. Things like that so the NAB

(43:34):
has also been getting there wedging in their lobbying efforts.
Under this, they're saying that they ask the SEC they
should keep only limits on FM ownership in the largest
markets and allow broadcasters to operate as many AMS as
in a city as they want. So let them just
buy all the ams. Meanwhile, you know, there's a lot
of smaller owners that rely on getting those AM stations,

(43:56):
especially for diversity. The think of the ethnic program we
have out there that is on AM that where else
would they go for it? Just thinking about that, I
don't know if people really care about that, but okay, whatever. Now,
there was the Holiday Reporter Frost School of Music poll
that came out about AI. The other AI poll came
out from Deezer and they did this with IPSOS and

(44:21):
showed that ninety seven percent of respondence in eight countries
could not tell the difference between AI generated music and
human made music, and close to half of the sample
of nine thousand participants that were conducting the survey in
October from the US, Canada, Brazil, UK, France, Netherlands, Germany
and Japan they feel positive about AI when it comes

(44:44):
to helping them discover music that they like more music
than they like. And they did a blind test with
two A created songs and one real song, and the
participants could not tell the difference for ninety seven percent
of them, seventy percent surprised.

Speaker 1 (45:02):
By the results.

Speaker 2 (45:03):
More than how felt more than half felt uncomfortable without
telling the difference. Not being able to tell the difference,
that's incredible. Now, let's go ahead and figure out about iHeartRadio.
They put out a story about their list the most
played songs and artists between their broadcast stations in the
iHeart Radio app. Let's see what you know, how out

(45:23):
of touch they might be in this particular list. So
let's go into it. The top iHeartMedia artists overall Subritta
Carpenter two point seven billion. I guess spins here, Yeah,
all audience spins says it, Kendrick Lamar, The Weekend, Brutal
Mars Morgan, Wall Lady, Gagab Benson, Boone, Post Malone, and
Chaboozi for the year. And the top songs most streamed

(45:46):
or listened to broadcast or streaming on iHeartMedia or the
iHeartRadio app. Now with a spell number one, Luthor number two,
Ordinary number three, Peak Pony Club, four, thirty for thirty five,
six That's so true. Seven Sorry I'm here for someone else.
Eight Leon mu Leon Thomas, but nine squabble ups Kendrick

(46:09):
Lamar ten How many of those songs were actually from
last year compared to this year? Interesting? So last week
I was talking about influencers pretty extensively on the program.
I got another story to come on about that created
red shows filling the gaps of late nights decline. The
Rap put out a story about this, mentioning Sean Evans,

(46:30):
Britney Broski, Kate Max all landing major interviews for their shows.
So the Running Interview Show from Max where Max is
holding short conversations with while running through the streets of
New York with everyone from local athletes and somebody's like
Tim Gunn, Joe Jonas, Al Rucker, Julianne, Derek Huff and others.

(46:50):
And they now have a new High Heart deal for
her podcast post run High and also has brand deals
with Netflix, Mabeline, and Celsius Kurshan Evans has The Hot
Ones Show. Britndany Roski Londa has actually landed so far

(47:13):
as guests recently for her program Rural Court, which by
the way has you eight hundred and nineteen thousand. You
two followers she's had on recently Fred Armisen, Brie Larson,
Kyle Maclaughlan Diego, Luna. Kai Snatt is also doing pretty
well for himself twenty minute Twitch followers. Kevin Hart has
been a fixture on Sanat's Mafia thon streams that the
two making a movie together, and Recess Therapy star Julian

(47:40):
Shapirobarnam will be hosting his first It's first ever late
night show in twenty twenty six. And to tell you
the difference on how the ratings are between the linear
shows that are still out there that are dying on
the vine to the news shows, Jimmy Kimble Alive in
the third quarter of twenty twenty five average one point
eight five million viewers. So this is after the whole

(48:01):
controversy of being pulled away for several weeks. Eight episodes
of Hot Ones released this year have averaged two point
six million views per episode. And you know, if we're
gonna talk about AI on this episode, I should go
and make mention of the normal folks that are afraid
of AI taking over and swallowing up their business of media.

(48:23):
That's all the publications out there. So there's a lot
of stories about all the lawsuits that are going on
right now, where you have Getty Images going after Perplexity
actually getting signing with Perplexity. Penskei Media is suing Google
over AI overviews and many other things like that. So

(48:48):
the Hollywood Reporter Variety publisher, Penskei Media suing Google over
the impact of AI overviews and search results on traffic
and revenue. Trying to follow footsteps of the New York Times,
but now many more. Instead of going to lawsuits, they
are just you know, taking the money that's being given
by chat GBT in return for citations back to their

(49:12):
websites currently promised. But of course, like I said, they'll
whittled down those companies give enough money to go in
and continue to move along long enough for the archives
to be built up and for the language learning models
to learn how to write as they do, and then
they'll buy those ips at pennies on a dollar. Most
of thems are with open Ai, most recently Parada, but

(49:33):
three publishers now have signed aideals with Amazon, New York Times,
Conte Nast and Hurst BBC threatening action against Perplexity because
they say they have evidence of the AI startups, the
fault AI model trained using BBC content that search results
in Perplexity have included verbatim BBC content and very recent
links and could see get an a junction unless Perplexity

(49:56):
stop scripping his content, dolting any copies of his content
health the purpose of developing the tech and providing a
proposal for financial conversation. Well, good luck with that, BBC.
That's not gonna happen. So the other publishers suing platforms,
let me just go through this as we go ahead
and wrap the show up. It's a long list as
a matter of fact. So let me give you what
I can get real quick before the music all ends

(50:18):
up here, all right, PENSKEI versus Google, and so I
go to Predia, Perdanica and Merriam Webster versus Perplexity. You
got news VideA Alliance versus cohere. Any of these publishers
us is Open AI, a coalition of the Canadian news
outlets over Open AI, news Core versus Perplexity, The Intercept,
Raw Story and Alternate versus Open AI. New York Times

(50:39):
versus Open AIM, Microsoft among others a W and there's
a lot of companies that signed up as well because
they just had to pay the pipes. Anyway, come back
for the Broadcasters podcast by interview with Rolf So the
next week.

Speaker 1 (50:53):
Remove.

Speaker 2 (50:53):
The content is king and the control of your content
is in your hands.

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