Samora Pinderhughes

Yeah, pretty much.

The biggest.

That's pretty much what I was going to say.

I mean, I am anti-AI, so I'm probably like one of the few people here that's like not into it.

I think one of the reasons for me is that there's been a history in, you know, not just technological movements, but like in a lot of industries in general where people will sublimate the motives around profit in favor of like,

how they see it benefiting the world.

And it's not to say that they don't necessarily believe in those things as well, but often the primary motive is profit.

And certainly even if the primary motive for the inventor is not profit, many of the ways in which it becomes applied are profit related.

And certainly we're going to see that and we're already seeing that in the space of music.

There are a lot more life and death examples than music, but even music, you know, we're already suffering from a context in which the creators of music already do not benefit from their own work.

Yeah.

And now we are being actively replaced, and there's no safeguards around that.

Yeah, I can't speak to that as an independent artist because I have really no relationship with it.

But this is what I will say.

I think part of it is that there's been a long lead up in the past set of years where audiences have been trained

to basically not really... Curate.

It's deeper than that.

They don't really understand the value of things that don't sound like what AI can make.

And so it's very easy to transition an audience over

into AI-made work because they actually have started to shift the ways that they engage with music.