music

We don’t know if today’s pop music is better or worse than that of 1960, but we do know one thing: it’s much more depressing.

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What does the music you listen to say about you? And what does the music that is published say about us, as a society? A group of scientists from the Queen Mary University of London (QMUL) has tried to answer these and other questions by analyzing tens of thousands of songs released between 1960 and 2023. The result is a vast study which has just been published in Nature and leaves a fascinating conclusion: in the last six decades pop has become more depressing. The question is obvious: Why? Much more than music. Anyone who has listened to music while working, playing sports or simply walking down the street will have experienced that songs are much more than an artistic expression: they are also a powerful lever capable of altering our mood. Not only that. Music, from the most sophisticated to the most popular, points directly to our emotions and obsessions. Aware of this, a group of researchers including Vjosa Preniqui, from Queen Mary University, decided some time ago to embark on a peculiar exercise: grab tens of thousands of songs mainstream and analyze their lyrics to find out what they are talking about. Almost 400,000 topics. The team examined more than 380,000 songs published between 1960 and 2030, hours and hours and hours of music composed by artists from several generations who sing about their obsessions. To be more precise, the researchers worked with two large music archives. The first consists of more than 377,000 songs with lyrics in English released between 1960 and 2010 and that have been added to the WASABI database. The second is made up of 5,500 songs extracted from the Billboard charts and that cover a longer period that extends from the beginning of the 60s to 2023. Objective: language. To manage such a musical collection, the researchers They turned to AI and language analysis techniques. They also focused the focus on a very specific aspect of the songs: they were not as interested in the harmony, instrumentation, rhythm or complexity of the compositions, as their lyrics. The focus was on language, emotional language and its relationship with morality. That is, what were the songs about? Of fidelity, decency and friendship or of conflicts, deception and rebellion? The goal, as Preniqi and his colleagues explain in his paperis to examine “the evolution of moral expressions in pop music lyrics” over six decades. It may sound very abstract, but the researchers paid attention to ten great timeless topics: ‘care’, ‘harm’, ‘justice’, ‘cheating’, ‘loyalty’, ‘betrayal’, ‘authority’, ‘subversion’, ‘purity’ and ‘degradation’. They also looked at the artist singing: whether it was a man, a woman or a mixed group. What did they find out? That today’s popular music is much darker than what our grandparents and parents listened to. By comparing the lyrics of the 60s with the most recent ones, Preniqi and her companions found that they have become “increasingly negative”. “Our results reveal an increase in moral vices and a decrease in expressions of virtues, along with an increase in negative feelings, anger and disgust,” they explain in the article of Nature. In short, today it is much easier to listen to songs that are about infidelities, hurts or degradation than in the 60s, when it was more common to sing about purity or mutual care. “This change, which extends until the 2020s and varies depending on the genre of the artists, highlights that expressions oriented to vices and emotional charges have increasingly gained prominence in music lyrics. mainstream“, concludes the study. Can it go further? The research provides some figures that help to better understand this transformation. In WASABI the letters related to degradation shot up by 52%, those associated with damage by 49% and those referring to deception by 48%. References to subversive acts also rose 41%. In the Billboard lists, which extend the ‘photography’ until 2023, the panorama is not very different: references to deception skyrocketed by nearly 71%, to degradation by 62%, to subversion by 50% and to injuries by 36%. less uplifting. If we look at the lyrics that deal with ‘virtuous’ behavior the trend is the opposite: Songs that talk about caring for others decreased by 24%, those dedicated to purity by 12% and those about loyalty by 11%. Again the trend is similar in WASABI and Billboard. The researchers did notice changes depending on gender of the artist (men and mixed groups seem more given to negative lyrics) or musical genresalthough these latter data must be handled carefully because there may be important imbalances in the samples analyzed. And what do the authors say? They claim that their study helps us understand both the evolution of popular music and our own obsessions. “Music is much more than entertainment, it is one of the ways that societies tell stories about themselves. By looking at song lyrics over several decades we can see how emotional expression and moral narratives evolve over time,” reflect Preniqi. “What we discovered was a gradual shift away from language associated with virtues such as care and decency toward themes that reflect conflict, harm, and other moral concerns. These patterns depend on several factors, such as musical genre and impact, but offer a fascinating perspective on the evolution of cultural values ​​and emotional expression.” Images | Spencer Davis (Unsplash), QMUL and Vjosa Preniqi et al. in Nature In Xataka | In 1992, Black Sabbath recorded a song about technology replacing humans. In 2026, it serves as a premonition

How to request the 400 euros to buy music, video games and subscriptions if you are 18 years old

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Let’s explain to you how to apply for the 2026 Young Cultural Bonusthe new edition of this aid so that those who turn 18 in Spain have a credit of 400 euros to spend on cultural products. He Young Cultural Bonus It was launched in 2022 to bring young people closer to the cultural sectors punished during the pandemic, but since then it has been maintained. The idea is that young people spend money on culture. We are going to start the article by telling you what this bonus is and all the details, specifying what the money will be spent on. Then, we will explain to you the process you must follow to request it. Finally, remember that in addition to turning 18 in 2026, the aid is aimed at young people of Spanish nationalitythose who have legal residence in Spain, and asylum seekers, temporarily displaced persons or formerly protected foreigners. What is the Young Cultural Bonus The Young Cultural Bonus is the aid that is given each year to young people who turn 18 years old. Come on, 400 euros are going to be given to everyone who comes of age in 2026. This money is not for them to spend on whatever they want, but for them to buy products, services and activities related to the world of culture. This aid was born to finance and revitalize the Spanish cultural sector after the COVID-19 quarantines, although once they returned to normal they have been maintained. It is not known how long this cultural bonus will exist, because it is something that is approved each year. This is indirect aid for the cultural sectors. Instead of simply giving money to establishments, it is given to young people so that they can consume the culture they want in pre-established cultural products. This last part is the most important. You cannot spend 400 euros on a specific type of product. this money It is divided into three types of productsand for each of them there is a spending limit. You can’t spend it anywhere either.but in establishments that have joined the program. The aid is only for those who turn 18 years old. Therefore, it will only benefit those who have born in 2008while people and young people of other ages will not be able to benefit. Only those who turn 18 during 2026. In addition, it will be necessary to have Spanish nationality, legal residence in Spain, or be asylum seekers, temporarily displaced or ex-tutored foreigners. The management of the aid is centralized on a specific website, where young people can request the voucher. And then, In your city you will see which establishments participatesince they usually put in the window that they accept Cultural Bonus, and you will know that you can spend the money there. What can the bonus be spent on? What’s new this year is that There are two types of spending to decide the structure of what to spend the money on. On the one hand we have the traditional modality, which is the following: A maximum of 200 euros in live arts, cultural heritage and audiovisual arts: This will be divided between tickets and passes for performing arts, including live music, cinema, museums, libraries, exhibitions and performing, literary, musical or audiovisual festivals. Also for bullfighting shows. A maximum of 100 euros in cultural products in physical format: This will be divided between books, magazines, press and periodicals. It can also be spent in video gamesmusical scores, vinyl recordsCD, DVD or Blu-ray. A maximum of 100 euros in digital or online consumption: This will be divided between subscriptions and rentals to music, reading or audio-reading, audiovisual platforms, purchase of audiobooks, purchase of ebooks, subscription to podcasts, subscriptions to online video games, digital subscriptions to press, magazines or other periodical publications. Yes indeed, Subscriptions will be limited to a maximum of four months. The purchase of some stationery products such as printed or digital curricular textbooks, as well as computer and electronic equipment, software, hardware and consumables, is excluded from the aid. You will also not be able to buy musical instruments, go to sporting events, or buy pornographic material. The second modality is training. With it, you can invest the full 400 euros in courses and workshops with cultural content in person and online and musical instruments and means of artistic creation and material. A final condition is that You can only use the voucher in certain establishments or institutions attached to the program. These businesses must operate within Spain or carry out activities of sale or provision of cultural products, activities and services. How to request the Young Cultural Bonus 2026 To request the Young Cultural Bonus for 2026 you have to enter its official website, which changes every year. This year’s is beneficiaries.2026.bonoculturajoven.gob.es. who is the official of the program. In it, press the button Registerand create an account using your email and a password. Once you have registered, on this same website you can log in with your created account. Once you have created your username and password, you will receive an email with a confirmation link, and you must click on it to complete the process. Once you do it, press the button Request bonus that will appear to you. The first time you do it you will have to verify your information and age using the digital certificate either Cl@ve. Afterwards, you will have to fill in the rest of your main information. Once you have done this, you can now choose how you want the cultural bonus. The easiest thing is to have a virtual card that you can add to Google Pay or Apple Pay to pay with your mobile’s NFC, although you will also have the possibility of requesting a physical card. When you finish the setup, you will need to verify your request using Self-signature. Once you have everything, remember that you will only be able to use this balance that is given to … Read more

The teacher from Cartagena who asked the Beatles to print their lyrics and changed how we listen to music

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In 1966, Juan Carrión traveled from Cartagena to Almería with a notebook full of gaps. They were not incomplete notes: they were very specific gaps, the fragments of Beatles lyrics that I had not been able to decipher listening to them on the radio and on their records. He went to ask John Lennon to help him complete them. A request that would result in an editorial decision that the recording industry would retain for decades. Who is Juan? Juan Carrión Gañán was born in Madrid in 1924. He became a senior official in the Ministry of Agriculture before resigning to go to London as a Spanish teacher at the Language Center associated with the British Embassy. When he returned to Spain, he settled in Cartagena, where he was offered a position at the Tentegorra military base, and set up his own academy. At that time, no one followed this system of teaching English with song lyrics, but it was a tricky job: I transcribed them in real time while listening to them on the radio, leaving blank the fragments that he could not decipher. A pioneer. Let’s remember that in 1966 there was no convenient way to access the lyrics of a song. Singles occasionally included it on their back cover, and LPs rarely did. The fact is that Carrión’s pedagogical method was effective and pioneering, according to describes the writer Javier Adolfo Iglesiasauthor of the book ‘Juan and John, the professor and Lennon in Almería forever’. Carrión was a “pioneer in the use of multimedia resources, cinema, BBC news and Beatles songs” to teach English. But still, there were fragments that escaped him. To the meeting. When Carrión found out that John Lennon was coming to Spain in October 1966 to film ‘How I Won the War!’ Under the orders of Richard Lester, he took the bus to Almería. He stayed there for a week even though he didn’t have much money: first he made friends with Les Anthony, his driver and bodyguard, and through him he sent him the notebooks. They finally met in person. He had a very specific request: that the Beatles include printed lyrics on their albums to make his job easier. Apparently, Lennon promised him that it would be done on the next album. Curiously, Lennon’s relationship with his colleagues was not going through the best moment, and he was considering leaving the Beatles. In those same days in Almería he would compose ‘Strawberry Fields Forever’, a song that the Beatles would record at the end of 1966 and publish as a single in February 1967. Against Sgt. Pepper’s. The LP that the Beatles released after the meeting was ‘Sgt. Pepper’s Lonely Hearts Club Band’, in 1967. And according to it is saidwas the first rock LP to include all lyrics printed on its back cover. Curiously, many sources specialized in the history of the Beatles document the fact, but Carrión is never mentioned. And yet, the importance of the Beatles’ decision was very significant: what the band did on ‘Sgt. Pepper’s’ became standard practice in the industry. To the cinema. In 2013, director David Trueba adapted Carrión’s story in ‘Living is easy with your eyes closed’, with Javier Cámara in the role of the professor. At the 2014 Goya Awards, the film won six awards, including Best Film, Best Director and Best Leading Actor. It was the Spanish candidacy for the Oscars that year. Carrión died on August 30, 2017 in Cartagena and Trueba lament having “met very late in life, especially in his.” In Xataka | The shock of an era: this was the murky breakup of the Beatles seen 50 years later

Spotify has spent months deleting music made with AI. Now he wants to sell it as a premium product

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In just a few weeks, Spotify has been changing its position on AI-generated music: months ago it removed more than 75 million fraudulent tracks, launched a distinctive seal so listeners knew when there were human hands on the other side, and tightened its filters against synthetic spam. But the turn came in the talk for investors on May 21, where it became clear that what worries Spotify is not AI, but generating income with it. The precedents. Let’s start with the moves Spotify has made to control the rampant presence of AI on the platform. In September 2025 the company revealed that had removed more than 75 million fraudulent leads of its platform in the previous twelve months. Many of the AI ​​actions were malicious: massive raises designed to steal royaltiesunauthorized voice clones and content which the company’s own executives called “slop.” By then Deezer had detected that it received more than 30,000 AI-generated tracks per day, and that up to 77% of its reproductions were fraudulent. Just a few weeks before the meeting with investors, on April 30, Spotify launched the “Verified by Spotify” seal, a verification mark that distinguishes human artists from the artificial ones, which are increasingly proliferating on the platform. To achieve it, musicians must demonstrate authentic activity, have linked social media accounts and concerts on the agenda (something that, as we have said over the last few months, does not guarantee anything, given the latest successes of AI-generated music, which have their following on networks and their continuous stream of releases). Deals with Universal. The main news before shareholders is a licensing agreement with Universal Music Group, the largest record label in the world, which will allow Spotify Premium subscribers create covers and remixes with generative AI of songs from the artists participating in the agreement. The tool will arrive as a paid add-on to the usual subscription. It was already known that Spotify was considering charging up to an additional $5.99 per month for a “Music Pro” tier with superfan features. Co-CEO Alex Norström said that with this tool, “one song would become 10,000 songs.” The agreement contemplates a revenue sharing model with participating artists, and it was made clear that participation will be completely voluntary by the musicians. This announcement is no surprise: we already knew that Spotify was working on AI products with Universal, Sony, Warner, Merlin and Believe, but without a closed legal framework. Universal had previously licensed its catalog to smaller AI platforms, such as Udio, Klay Vision and Stability AI, but here it is already we enter in the 761 million monthly active users and 293 million paying subscribers. Long live AI. In an interviewNorström made it clear that, faced with multiple tools that allow songs to be manipulated without permission, they want to be the “legal” and “controlled” option. Norström affirms that the synthetic music market already exists and that trying to stop it would be useless, so he proposes regulating it from within, with agreements between labels and platforms, and turning it into a source of income for all actors. To combat AI content that “makes you feel good in the moment” but ultimately leaves the user feeling like they’ve “wasted their time,” Spotify offers verified authors and artists who charge for it. High tension. The announcement comes at a time when many powerful players are beginning to understand the extent of what they are risking. On May 13, a week before the investor meeting, famous producer Jack Antonoff (he has worked with Taylor Swift, Lorde and Lana Del Rey) posted on Instagram against those who use AI to make music. Norström acknowledged in the interview that there is “some negativity out there” regarding AI and called it “reasonable,” although he added that it is due to “poorly aligned AI.” swerve I mean, potify has spent months arguing that the problem with AI in music was fraud, spam, and impersonation. Now it announces that the same synthetic content, controlled and profitable, may be desirable. As we said in our analysis of the algorithmic model that Spotify has built for years linked above, the platform has been encouraging listening that prioritizes the state of mind over the identity of the artist for some time. That is, the ideal breeding ground for synthetic music. All that was left was monetization. In Xataka | We put Spotify, Apple Music and YouTube Music to the test: music streaming has changed and there is no longer an obvious winner

the largest streaming music service is not working

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It’s Tuesday afternoon. You probably just finished the work day and are on your way home. Good time to listen to your favorite music, right? Well, if you are trying to do it with Spotify, we have to tell you no: it is not a matter of your mobile phone or your Internet connection. The largest streaming music platform on the planet is down. She has been my companion Amparo Babiloni who gave the alert. Your app has stopped responding when trying to play music online, while songs included in playlists downloaded for offline listening continue to work. So this drop can be an especially annoying problem if you don’t have a Premium plan or if you haven’t previously downloaded music to your device. 27 SPOTIFY TRICKS – Control all your MUSIC like no one else! Spotify also has a web player, a practical option if you don’t want, or can’t, use its application, available on computers, televisions, consoles and, of course, mobile phones. In our case, when trying to access the service from the browser, we have encountered the message “Error 503 first byte timeout”. For now, Spotify has not offered an official explanation for the crash, although the error message gives you an idea of ​​what may be happening. The warning appears when the server receives the request, but takes too long to return the first response. In other words: it is usually related to temporary saturation, a partial outage, maintenance tasks or an internal server failure. If we look at Downdetectoranother good way to follow in real time what is happening with popular services, we see that the problems with Spotify began around 5:52 p.m. this Tuesday and were growing rapidly. After 6:00 p.m., there were already hundreds of reports from users indicating problems with the service. In development. Images | Spotify + Nano Bana | Screenshot In Xataka | What is Cloudflare, how it works and why a crash or block causes half the Internet to fail

Vevo was all over the internet in the 2000s. Today is just another forgotten episode of the old music industry

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In December 2009, two of the biggest record labels on the planet organized a party in New York with Bono as the guest of honor to celebrate the launch of something that, according to them, was going to give them back control of the music business on the Internet, which, as we will now see, was not going through its best moment. It was called Vevo, an acronym for “Video Evolution.” The (r)evolution lasted less than a decade: the fundamental changes in the business and the arrival of a different way of understanding music videos relegated it to the secondary level of nostalgia for millennials which is today. Bad times. In the late 2000s, The music industry was collapsing.. Income from record sales had been falling for years due to the combined effect of piracy and chaotic digitalization, unbeknownst to the labels, and which was very far from the orderly and official moment that it is experiencing today thanks to streaming platforms. For example: YouTube (which had already been bought by Google in 2006) accumulated hundreds of millions of video clip views without the labels seeing a single euro in compensation. Attempts were made to renegotiate the terms of that relationship, without success: Warner Music was the first to withdraw their entire catalog from YouTube in 2008. Ideaca. Doug Morris, then CEO of Universal Music Group and a central figure in the creation of Vevo, envisioned a way to enter the internet and video clip business when he saw his grandson consuming online video clips with advertising, which led him to ask how much money Universal was generating with those reproductions… The answer was obvious: zero. From that point on, Morris pressured companies like Yahoo and MTV to compensate him for playing his videos. He did end up reaching an agreement with Google. Q: Are We Not Men? A: We Are Vevo! Vevo officially launched on December 8, 2009 following an agreement between Universal Music Group, Sony Music Entertainment and EMI, with Warner Music Group joining years later, in August 2016. Vevo would provide the official catalog in high definition, YouTube would serve as a mass distribution platform, and both parties would sell advertising on that inventory. In October 2009, the Abu Dhabi Media Company already had invested about 300 million dollars to operate in the United States and Canada. Immediate result? Spectacular. In its first month it was already the most visited music site in the United States, surpassing Myspace Music. The economic impact was also rapid: according to Vevo’s CEO at the time, the average CPM of an online music video went from $3 before launch to more than $30 in 2013. In 2012, Vevo accumulated 41 billion views annually across its network, with a catalog of around 75,000 videos. By August 2013, Vevo had surpassed MTV in terms of digital viewership: 609 million video views versus MTV’s 261 million that month. Vevo Certified for artists who surpassed 100 million streams became an indicator of cultural relevance comparable to a number one on sales charts. Issues. However, Vevo’s structural problem was not the audience, but your delivery model. Although the company had a turnover of $250 million in 2013, more than 90% of that income was shared between labels, Google and music publishers. Universal and Sony captured 55% of the total and Vevo operated at a loss. It was, in practice, an advertising inventory manager without its own capital: it generated value for its shareholders, the labels and Google, but not for itself as an independent operating entity. In 2014, the company hired Goldman Sachs and The Raine Group to find a buyer willing to pay nearly $1 billion for the company. None appeared. Vevo ruled out the sale and announced that it would seek profitability through its own means. Change of course. In April 2015, Erik Huggers (creator of the famous BBC iPlayer) arrived as the new CEO. Vevo then wanted build your own applications for mobile and connected TV, reduce its dependence on YouTube and eventually launch a paid subscription service. They began developing apps for iOS, Android and connected TV platforms, but it was short-lived: the paid subscription project was canceled in February 2017, and Huggers left the position. Sizes and layoffs took place and the commitment to technological autonomy ended. Coup de grace. In January 2018, YouTube automatically migrated subscribers from Vevo-branded channels (such as “RihannaVEVO” or “JustinBieberVEVO”) to YouTube’s new Official Artist Channels. That same week, YouTube relaunched YouTube Music as a paid subscription service, directly competing where Vevo had tried to enter. Paradoxically, Vevo had broken even that year for the first time. But the proprietary model had never caught on, and without it, there was no reason to maintain the infrastructure. What’s left of Vevo. Vevo has not completely disappearedlike other projects of the time. The company pivoted to the connected television business and FAST channelsthe free shelves with advertising. Its library exceeds 900,000 video clips and generates approximately 25,000 million monthly views. The model is, ironically, the one that MTV never managed to make happen: a free music network supported by advertising, although in the case of Vevo, distributed over the Internet instead of cable. Vevo’s footprint is not entirely negative: it set the standard for the official high-definition music video on YouTube, created the monetization infrastructure that allowed video clips to become a business again, and demonstrated that the recording industry could negotiate on an equal footing with technology platforms. But the fact that the video clips have ended up becoming amateur choreographies on TikTok is something that, of course, the CEO of Universal could not foresee. In Xataka | MrBeast created an extreme survival challenge with the goal that no one could overcome it. Until ‘Juan the Mexican’ arrived

It’s time you had a button that allows you to filter AI-generated music

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Music created by AI is generating millions of dollars on platforms like Spotify, making royalties from real artists decrease. The platforms More than 75 million songs have already been uploaded of this type in the last year, and rivals such as Apple Music acknowledge that more than a third of the songs currently uploaded They are generated by AI. You can’t put doors on the field, but putting your hand in the matter seems inevitable. The new step. Spotify is starting to add verification badges for real artists, a badge that guarantees that the artist profile has been reviewed and is an “authentic” musician. The platform explains that those profiles that generate music using AI cannot be verified. The platform takes into account recent concerts, social networks, fan activity and profile behavior to determine whether or not it is real, a fairly fallible method. The world upside down. Spotify has decided to take the opposite path to rivals like Deezer. Their solution to stopping songs created with AI is to verify real artists, while Deezer is betting on a much more aggressive solution AI Music Detection Tool from Suno AI and Udio Removal of AI songs from recommendations Labeling of all songs created with AI According to Deezer, 44% of the total daily music delivery on the platform corresponds to songs created with AIstating that 97% of users are not able to detect between AI-generated music and human-generated music in a blind test. The underlying problem. Spotify’s approach reverses the burden of proof: instead of detecting fake content, it tries to certify authentic content. An independent artist without many numbers, without recent concerts or intensive activity on social networks has a hard time achieving verification, even if his music is completely human. The badge does not measure authenticity, it measures the relevance of the artist, and Spotify is also home to emerging artists. Furthermore, the criteria that Spotify explains are metrics that can be easily modified in AI times, precisely. The system has holes from day one. The damage to artists. The structural problem is not that there are users generating songs with AI, but rather the proportional distribution model that these platforms use. Each artist charges based on their number of plays over the total: the more AI songs accumulate listens, the more diluted what a real musician can earn. Cases like that of ‘Walk My Walk’or how a song generated by AI became the most listened to in the United States, make it clear that the phenomenon is here to stay, and raises the debate of whether AI itself should learn from what it knows: It is the artists who have taught her to compose. In Xataka | You make music with AI, one day you go to download your songs and you discover that you can’t anymore. That’s what just happened with Udio

Spotify and Apple Music have a problem with AI-generated music. And the real musicians are paying for it

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Music generated by AI has flooded the large platforms of streaming without anyone having asked for it. Deezer says it detects 75,000 AI tracks uploaded every day, and the number is growing. Spotify has uploaded 75 million songs of that type in the last twelve months. And Apple Music recognizes that more than a third of everything that comes to it is “100% AI”. Why is it important. It is not only a quality problem for the catalog or the reputation of the platform, but also an economic problem. Spotify, Apple Music and most platforms operate with a proportional distribution model (pro-rata): each artist receives a percentage of the total pool royalties equivalent to your reproduction quota. The more AI songs that accumulate listeners (even if they are fraudulent, generated by bots) the more it dilutes what a real musician earns. Between the lines. Although more and more music of this type is uploaded, almost no one listens to it, at least on purpose (sometimes AI songs sneak into algorithmic discovery lists). The problem is not the demand, which does not exist, but the brutal and increasing amount that distorts the algorithms and erodes the income of real artists even though their songs are still the ones that people do want to hear. Someone is uploading music that no one asks for to collect money that they do not deserve because the listeners arrive via bots. And that is money that the real artist stops earning. The background. The most extreme case, at least documented so far, has been that of Michael Smith, an American businessman who between 2017 and 2024 generated more than 10 million dollars in royalties wearing Suno and other tools to create hundreds of thousands of songs and armies of bots to play them automatically. That was the first case of fraud streaming with AI criminally prosecuted in the United States. According to the accusation, it accumulated 660,000 views a day. One billion views and zero fans. Yes, but. The platforms are already facing this wave. Deezer has been the most aggressive: it has implemented AI automatic detection, excludes those songs from algorithmic recommendations and has demonetized 85% of its views. Bandcamp has outright banned AI-generated music. Apple Music has begun to roll out its ‘Transparency Tags‘ (optional for now), and Spotify has released a verification stamp ‘Verified by Spotify‘ to ensure there is a human behind every artist profile. The problem is that both Spotify and Apple have opted for voluntary systems: it is the labels and distributors who must declare whether they have used AI. Nobody who lives off fraud is going to do it. There is an important distinction: It is one thing for a musician to use AI as a tool within their creative process (to refine a lyric, generate a base, experiment with sounds…) and quite another for an entire song to come out of Suno or equivalent with a pair of prompts and without real human intervention. The platforms, at the moment, do not distinguish between one thing and another. And Spotify has also left a door open by noting that “the concept of artistic authenticity is complex and rapidly evolving,” which in practice means that AI artists could end up being verified one day. Featured image | Xataka In Xataka | Science has measured how music impacts us during exercise: choosing the right Spotify list is essential

How to link Apple Music or Spotify to TikTok to save the music you discover in the social network’s videos there

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Let’s tell you how to link Apple Music or Spotify to TikTokand thus be able to save the music you find in the videos in your music library. When you do this, the service you choose will become the one TikTok uses by default. The operation is simple. Once you have linked them, when you are watching TikTok and a video with a song appears, an indicator will appear that tells you what the topic is. Then, by clicking on the name you can open it directly in your music streaming application. Link Apple Music or Spotify to TikTok The first thing you have to do is enter TikTok and click on the options button to open the side tab. When you do it, click on the option Settings and privacy to enter the social network settings. Once you are in the TikTok settings, go to the section Content and screen. in here, click on the section Music that will appear to you. Within the Music section, click on the option Link within the option of Add to music app. You will go to a screen where you will be able choose the default music app to add songs from TikTok. Here, you can click on one of them, the one you use. When you choose one of the options, you will go to the application or website of this music service, and you will be able to accept that you connect to TikTok and both services are linked. TikTok will be able to see data from your account and perform actions for you, such as adding songs. Add TikTok music to Spotify Once you have linked a streaming service, simply browse as normal. When there is a song in a TikTok video, you will see that there is an indicator of the topic it containsand you can click on it. You can also click on the round icon at the bottom right. When you click on the song nameyou will go to a screen where you can have your information, the publications that use it, and options to use it yourself or save it to favorites. Here, you will also have a button to add it to Spotify or Apple Musicdepending on which one you have chosen. This will add the song to your playlist of songs you like on Apple Music or Spotify, the one created when you “Like” any of the songs. In Xataka Basics | Alternatives to TikTok: the main social video networks to go to if you are thinking of changing

Apple Music will come to the app to offer the next step

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TikTok has become more than just a platform for short videos: for millions of people it is the place where they discover new music. Songs that appear in “Para ti” can go from being a viral fragment to becoming a global hit in a matter of hours. That role as a great musical showcase has redefined how songs are released and promoted in the industry. Apple Music seems to have taken note of that dynamic and is now committed to going one step beyond discovery. The novelty. “Play Full Song” seeks to shorten the journey between the moment someone discovers a song on TikTok and the moment they decide to listen to it in its entirety. From now on, Apple Music subscribers will see a dedicated button on their “For You” or sound details page, from which they can open an Apple Music player to listen to the full track. By tapping it, the user can play the track and continue listening to recommendations within the service. TikTok also adds that users will be able to save songs in “Your Music” and add them directly to their Apple Music lists. An agreement that goes through Apple Music. Although the button appears within TikTok, the complete playback is not done on the social network itself. The function uses MusicKit, Apple’s technology that allows you to integrate your catalog into other applications, so the song is played in Apple Music and listens are counted in that service. The important detail is that the integration is linked only to Apple Music. According to TechCrunchother streaming services, including Spotify, do not currently have an equivalent option to listen to full songs from TikTok. This integration does not appear in a vacuum. TikTok has been incorporating tools designed to connect the virality of its videos with streaming platforms for some time. One of them is “Add to music app”, a function that allows you to save songs discovered on TikTok directly to music services to listen to later. In parallel, the company has also explored other paths, such as its attempt to launch its own streaming service, an initiative that ended up closing. Since then, the strategy seems to focus on reinforcing its role as a discovery point that connects with other platforms. Music is also heard in community. The announcement also includes a feature called “Listening Party,” designed to bring artists and fans together for a shared listening session. During these sessions, fans can listen to songs in real time while interacting with each other and the artist themselves. TikTok describes the initiative as a new social way to experience music within the platform. Together, these tools aim at the same objective: reinforcing TikTok’s role as a meeting point between musical discovery, reproduction and direct relationship between artists and audience. Images | TikTok In Xataka | Netflix spends 17 billion on producing content and YouTube does it for free. And that’s why YouTube is winning the game

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