Beth Lyons

Well, Comic-Con and cons specifically make sense to me because you're really engaging with the human artist.

The human artist is standing behind the table, right?

So it's a little different, I think, than...

Then another kind of sales format where you might have more understanding that this might be an AI art piece.

It's sort of... I'm probably going to date myself here, but it's sort of like you would never expect...

in the years where people would just go and follow the Grateful Dead on tour, that you were going to go and buy a tie-dye shirt that was made by a robot.

It seems like that's the kind of environment in which it is a human-to-human art exchange and trust.

San Diego, Greg says.

So, yes, and the company that made the album with the artists is Eleven Labs, right?

And we talked earlier, six months ago maybe, where Eleven Labs had started to work with artists and their estates, right, to license their audio.

And I find it fascinating that Liza Minnelli is attached to this story.

The name Liza Minnelli is attached to this story, but not Judy Garland, because Judy Garland was one of the voices that was in that We License Some Voices story.

Yeah.

And I'm super curious.

Like, are we at a point where we're willing for an artist, an artist to say, yes, I want to do the song this way.

I'm still alive.

This is my thing.

But we're not quite ready to hear the Judy Garland album.

Right.

So I just find that really kind of interesting.