songs

How to create songs in Google Gemini using its Lyria component

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Let’s tell you how to create music with Geminithe artificial intelligence from Google. Gemini has just implemented the Lyria model within its AI assistant, which is capable of generating songs from your prompt of text. With this, Gemini begins to compete with Suno and other tools for create songs with artificial intelligence. It is true that Lyria in Gemini is still a little far from what the competition offers, but it is capable of generating amazing results. It will create both the music, the lyrics and the voice of a song. You just have to describe what you want, and the AI ​​will sing in your language without problems. The songs it generates are just 30 seconds longsmall musical clips that you can share. How to create music in Gemini Let’s tell you the two methods you have to create music using Gemini. One of them is a method with which the AI ​​tries to help you step by step to configure your musical style, so that it is faster, and the other is just invoking the creator with a prompt Make music with Gemini from its tools The first method is choose the option Create music from the Chrome tools menu. Simply click on tools and choose the option Create music. The option may also appear in the suggestions that appear below the writing field when you start a new chat. This will take you to a screen where you will be able to choose musical style that you want to use for your song. Each of these styles or pre-generated songs to work from has a button to listen to them, and you will only have to click on the style you want to continue. Now you simply have to write a prompt describing the song what do you want to do. When you do, you’ll see Gemini start thinking and summon Lyria, and then she’ll generate a song for you that you can play and even share. You will also have the option to regenerate the result or write a new prompt in which you request the changes you want to make. In this prompt you can give all kinds of details, such as musical style, subgenre, language, rhythm, theme, and you can even add the letter or tell it only words or phrases that you want the lyrics to include. You can specify structures, music speeds, whatever you want. Create a song in Gemini with a single prompt The second method is simply directly writing a prompt with everything. Here, the only important thing is that at the prompt indicate that you want a songand then describe how you want it to be. When you do this, when processing your request Gemini will realize that you have requested music or a song, and will directly run the Lyria tool to generate it. In just a few seconds you will have your song. Then you will be able write more prompts to request changes on the created song, or directly to compose a new one. In this prompt you can give all kinds of details, such as musical style, subgenre, language, rhythm, theme, and you can even add the letter or tell it only words or phrases that you want the lyrics to include. You can specify structures, music speeds, whatever you want. In Xataka Basics | How to Improve Gemini Answers: 14 Steps to Ensure Higher Quality and Better Sources

Spotify has had to remove 75 million songs made with AI. Bandcamp has decided not to have that problem

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The Bandcamp music streaming and sales platform has announced that will completely ban music generated “in whole or in substantial part” by artificial intelligence, becoming the first major music distribution service to establish such a restrictive barrier against synthetic content. Bandcamp thus draws a very clear red line in the debate about where the use of creative tools ends and where total automation that dispenses with human authorship begins. What does the statement say? Bandcamp’s statement presents two fundamental prohibitions. On the one hand, any musical content generated entirely or substantially through artificial intelligence, a formulation that avoids defining exact percentages but establishes that there is a threshold regarding the weight of AI in the creative process. On the other hand, it extends the prohibition to the use of algorithmic tools to replicate styles or voices of real artists, connecting this restriction with the platform’s pre-existing policies against identity theft and intellectual property infringement. Citizen collaboration. The advertisement includes a complaint mechanism For users: users can report suspicious material using the platform’s reporting tools, which will be reviewed by a moderation team. The company explicitly reserves the right to remove music suspected of having synthetic origin, without the need for conclusive evidence, a clause that gives wide freedom to moderators but could also generate false positives. The company acknowledged that the policy may require updates as the generative AI landscape evolves, referring to how quickly these technologies are being developed. The conceptual debate. This decision is part of the debate about AI and creativity that is going through the world of culture: using algorithms as instruments as opposed to delegating the creative act to them. The United States Copyright Office established in January 2025 that work generated by AI can be registered when it “incorporates significant human authorship,” but that content produced solely through promptswithout additional creative intervention, falls into the public domain for lack of a recognizable author. Nuances and tools. And it is difficult to determine the limits. The spectrum ranges from musicians who use AI to clean up audio or get inspired by melodies to those who simply write text instructions and let the model generate entire tracks. There are conceptual artists who go to the opposite extreme of artificial intervention: composer Holly Herndon turned her voice into the project Holly+ into a “digital instrument” that is publicly accessible and that other musicians can play. The debate is endless: MIT Technology Review raised in April that tools like Suno and Udio produce “creators” who are not conventional musicians but “prompters“. The result is works that cannot be attributed to a composer or singer, dissolving the usual definitions of authorship. The flood. The figures reveal an exponential escalation in the appearance of music created with AI on platforms. Deezer spoke in November 2025 of more than 50,000 tracks completely generated by AI each day, 34% of its daily volume, and an increase of 400% compared to January, when the figure was 10,000 songs per day. A study by Deezer itself said that 97% of listeners do not know how to distinguish between human and synthetic music after a blind test for the participants in the study in which they were shown two tracks, one with AI and one real. The Spotify drama. While, Spotify revealed in September 2025 which had removed 75 million “spam tracks” in the previous twelve months, an amount that rivals the platform’s entire catalog of 100 million songs. The emblematic case of the fictional indie band The Velvet Sundown illustrates the dimension of the phenomenon: this group completely generated by AI It reached 1.5 million monthly listeners on Spotify during the summer of 2025 before its creators admitted its synthetic nature, under pressure from listeners. Follow the money. The case of Xania Monet is another side of the problem. This fully synthetic R&B artist generated over $42,800 in less than two months with over 17 million streams totals, which led to the signing of a multimillion-dollar record contract after a bidding war where a record company allegedly offered $3 million. At the same time, country was the first genre to be marked as a big loser in this war between real and synthetic artists: in December 2025, the number of country songs generated by AI outsold completely human jobs. There is a clear motive for these maneuvers: money. Tools like Suno and Udio produce for free and a user can generate hundreds of short tracks that can generate profits. Let’s multiply it exponentially: massive uploads to platforms, bot farms that generate songs and upload songs without rest, automation of payments… We are not looking for isolated successes, but to add millions of reproductions, against which a real artist cannot compete. Percentages. And that’s why Bandcamp and Spotify are so different. Bandcamp is a marketplace straight where artists charge an average of 82% of each sale, with the platform keeping 15% on digital items and 10% on physical items, with additional payment processing commissions of 4-7%. bandcamp has paid more than 1,640,000 million dollars directly to artists and labels since its founding in 2008, with 19 million transferred in 2025 alone thanks to “Bandcamp Fridays”, days in which the company completely waives its commission. This structure makes AI-generated music counterproductive for the platform: no one buys synthetic albums produced by AI. prompts. Spotify, meanwhile, operates on a subscription basis, distributing roughly two-thirds of its total revenue in royalties. The platform paid 10 billion dollars to the music industry in 2024but the average payment for stream ranges between 0.003 and 0.005 dollars. Besides,Spotify implemented a threshold of 1,000 annual streams in 2024 for a track to generate royalties. This structure creates perverse incentives to “cheat”: virtually free AI production, mass uploading of tracks, use of bot farms to inflate the number of views… The pay-per-play system stream It allows tiny fractions of a cent to turn into million-dollar amounts if there is enough volume. The reaction. The Bandcamp movement has some protection of its image, … Read more

If the question is why today’s songs are so simple, science has the answer: because we are.

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I belong to a generation that screamed singing Queen songsLast in line or Extrememoduro that they sounded on a cassette. Therefore, it has not gone unnoticed by me that, in the last five decades, music has changed. The letters they have become simplermore repetitive and loaded with negative emotions or stress. This shows it a data analysis about more than 20,000 songs that occupied the Billboard Hot 100 between 1973 and 2023 published in the magazine Scientific Reports. This phenomenon does not just happen. In reality, it is our own reflection, and the result of profound social transformations, of how we feel, consume and live our lives. A study that traces an underlying trend. He study Conducted by researchers at the University of Vienna, it has analyzed the lyrics of popular American songs over a period of five decades, measuring three key variables: presence of stress-related vocabulary, general emotional tone (positivity or negativity) and lyrical complexity based on repetition metrics and word variety. The result has led researchers to be able to affirm that, from the seventies to today, the use of words associated with stress has increased, the proportion of positive expressions has fallen and the structures of the letters have been simplified. What does it mean that they are “simpler”? According what was published by Forbesthis pattern is also seen in other investigations that compare songs from different genres over the years and their conclusions are the same: the lyrics of current songs tend to repeat more simple phrases, express intense emotions (such as anger or sadness) directly, and use fewer metaphors or complex images than in the past. Saying that the songs are simpler does not only mean that they are easy to remember, but that their lexicon and structure have been losing richness and complexity. Bob Dylan won the Nobel Prize in Literature in 2016 “for having created new poetic expressions within the great tradition of American song.” With all the respects to Bad Bunnybut I don’t see him as a candidate for the 2026 Nobel Prize due to the depth of his lyrics. The algorithm enjoys it. In technical terms, letters that are repeated frequently and use less distinctive vocabulary are more “comprehensible” for algorithms that measure textual complexity. Not only does this make it easier for them to stick in the listener’s head (raise your hand if you’ve never woken up with a catchy song in your head), but it also responds to how we consume music today. In times of streaming and algorithmic listscatchy and repetitive themes compete better for attention. The change in music has occurred in parallel with the rise of rapid consumption platforms and more fragmented forms of listening. The artists they don’t even play it anymore releasing a good album. Not even with a single, but they compete in a context where the first chorus decides whether the listener continues or skips to the next song. That competition for attention It explains the rise of simple structures and quick hooks, but it also influences the type of emotions that predominate in the lyrics. A mirror of our collective anxiety. According to the conclusions of the University of Vienna study, the greater presence of terms associated with stress, anxiety or conflict is correlated with emotional state of society. As diagnoses of anxiety and depression increased in the population, an increase in negative language in cultural works has also been detected. This does not mean that music causes these states, but rather that it turns them into a space of expression. As and as I emphasized Patricia L. Sabbatella, professor of music at the University of Cádiz, “Music is part of everyday life, fulfilling different uses and functions ranging from entertainment, social cohesion, communication, emotional expression and regulation to learning, relaxation or entertainment.” Therefore, this transformation responds to the function of music as a barometer and emotional regulator of society. It is his reflection and at the same time his therapy.. “Surprisingly, social shocks like COVID-19 coincided with attenuations rather than amplifications of these trends, indicating a preference for emotion-incongruent music,” the researchers noted. What music tells us about ourselves. Although the average negativity and stress has increased, it does not mean that all music is gloomy or empty of meaning. There are artists and songs that challenge these trends. What the study indicates is the dominant pattern, not that all music is like this. One of the conclusions of the study is that if popular songs are now, in general, simpler, negative and stressful, it is because this phenomenon appears as a reflection of societies with accelerated rhythms, high levels of anxiety and a relationship with digital culture that favors the immediate and emotionally intense. Music is not the cause, but it is a sensitive mirror of how we feel and how we communicate. In that sense, understanding these changes not only helps explain why a hit from the seventies sounds different from the current onebut also what kind of roles music plays today. In Xataka | Angie Corine has made a name for herself in the Spanish rap scene with an unexpected commercial twist: she is right-wing Image | Unsplash (Eric Nopanen)

Their songs about Greek myths on YouTube have filled the Movistar Arena. Twice

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Almost two years after announcing their temporary retirement from the stage, Álvaro Pascual and Rodrigo Septién return to the same place where they said goodbye. On January 3, 2026, Gutting History returns to the Movistar Arena with a new proposal called ‘The Dawn of the Gods’. They had closed their previous tour, ‘Loki Tour’ in January 2024 before thousands of attendees in Madrid, then declaring a break without a return date after mobilizing more than 75,000 spectators between Spain and Latin America. But they are back. How it started. Gutting history It started on YouTube in 2017, combining dissemination of stories and mythology with parody songs and handmade animations. The project started applying the format “draw my life“, popular on YouTube during those years, with his own songs until he ended up developing songs as diverse as the authentic ones. myths that inspired Disney movies or the stories of classical mythology, just as they were originally born. Origins. After a few humorous videos starring themselveshis video about the origin of Valentine’s Day established a formula that they would not abandon for a long time: very schematic illustrations on a white board, with rudimentary animations, catchy melodies and a humorous and demystifying tone. From there they would evolve until reaching the current state, where they exhibit animations much more sophisticated. The data. Currently the channel is approaching six million subscribers and according to HypeAuditor datahas a monthly growth of 0.16%. These are figures that position it as a benchmark for this type of educational content in Spanish. Monetization has evolved beyond YouTube: the platform’s advertising revenue estimates place its earnings between $4,100 and $5,700 per month for that channel alone, also according to HypeAuditor. However, the real commercial muscle came with diversification: they published books like ‘Gods of Olympus’, ‘The Craziest Gods’ or ‘The Craziest Monsters’, comics like ‘The Greatest Villains’, and they have developed merchandising that includes even dolls based on their characters. The ‘Loki Tour’ that closed in 2024 mobilized 75,000 attendees and took them outside of Spain, to countries such as Mexico, Colombia, Peru, Argentina and Chile, as well as nine Spanish cities, a figure comparable to tours by established musical artists. A recurring jump. The jump from digital content to physical venues is not exclusive to Destripando la Historia. In the Anglo-Saxon sphere, several projects on mythology and history have consolidated sufficient audiences to monetize in-person events. The podcast Let’s Talk About Myths, Baby! takes an irreverent approach to Greco-Latin mythology similar to Gutting History, while Mythologyproduction of Spotify Studios with theatrical finish combines dramatizations with historical analysis. Our Fake Historywhich debunks historical urban legends through hour-plus episodes, represents the more academic end of the spectrum. The case of Critical Role. However, the closest reference to the Guttering History model is Critical Rolea group of voice actors that has broadcast ‘Dungeons & Dragons’ games since 2015. Its expansion illustrates the commercial potential of this type of content: in October 2023 They filled the OVO Arena Wembley in London with 12,000 attendees. Their 10th anniversary tour in 2025 included Radio City Music Hall in New York and they already have an animated series on Amazon Prime, ‘The legend of Vox Machina‘, and they have founded a board game publishing house and a charitable foundation. The secret of success. There are several reasons to explain the impact of Ripping History, beyond the indisputable quality of its content. First, its hybrid format turns educational content into musical entertainment. Three-minute songs generate complete plays and relistens, which certainly pleases the algorithm. But they have also achieved something unusual: a transgenerational audience. Children enjoy the references to movies and myths they know through Disney, teenagers connect with the hooligan humor and adults appreciate the irony behind the proposal. The future. The question, once completely artisanal growth is established for the channel (unlike Critical Role, which rotates for months and has 180 employees) remains: can a duo sustain continuous content production without evolving towards a more business format, with specialized teams? Or, formulated another way, does the return to the Movistar Arena confirm that the model works in cycles, alternating digital creation with in-person peaks, instead of aspiring to the permanent machinery of Critical Role? In Xataka | The king of podcasting is no longer Apple or Spotify. It’s Google

A year ago, Warner wanted to sink Suno’s AI to generate songs. Today he has decided to ally with her

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From chaos to order: when AI burst onto the music scene it seemed like everything was going to fall apart. And some of the latest news in that field seems to go in that direction: uncontrolled multiplication of false groups created with AI on streaming platforms, accelerated sophistication of AIs that allow the creation of music indistinguishable from that created by humans… however, the majors of the industry have taken action on the matter to turn the situation in their favor. And no, it is not that they have won the multiple lawsuits they filed against the AI ​​companies. It is, perhaps, something much more disturbing: they have reached agreements. What has happened? In just eighteen months, Warner Music Group has completed a radical strategic pivot regarding its relationship with AI. In June 2024the record company sued Suno along with Sony and Universal for massive copyright infringement, accusing the platform of training its models with millions of songs it owned and without authorization. But now he announces an alliance with that same company to license its complete catalog. What is Suno? A music generator through artificial intelligence that has attracted almost 100 million users in two years, and allows complete songs to be created from simple textual descriptions. Users can specify genre, mood, instrumentation and tempo, and the system generates two versions of the requested song in about 15 seconds. To achieve this, Suno combines its own musical model with ChatGPT, and from there come both the music and the lyrics, creating pieces that can include voices and instrumentation or be purely instrumental. What the agreement consists of. The pact establishes that Suno will launch in 2026 new advanced and licensed models that will completely replace your current systems. Artists in Warner’s catalog (Lady Gaga, Coldplay or Ed Sheeran, among many others) will have control over whether or not they allow their names, images, voices and compositions to be used in that AI-generated music. Neither Warner nor Suno disclosed the financial terms of the deal, although Warner CEO Robert Kyncl stated that the goal is to “compensate and protect artists, songwriters and the creative community.” As part of the deal, Suno acquired SongkickWarner’s concert discovery platform. Besides, from now on Song downloads generated by Suno will require a paid account, with download limits and options to purchase additional downloads, a bit like the usage limits established by the level free of other AI models. The original demand. The complaint of 2024 accused Suno and Udio of massive infringement of protected recordings. The record companies they requested damages up to $150,000 per infringed song. Suno admitted that he had trained his model with tens of millions of protected recordings but defended that it was “fair use” (the famous fair use Anglo-Saxon) And what is the reason for the change in Warner and company’s strategy? Suno closed a $250 million financing round at a valuation of $2.45 billion just a week ago, according to The Hollywood Reporter. They are not the first. This is not a desperate deal major allying himself with someone who just a year ago he considered an enemy. It is an industry trend: in June 2024, for example Universal Music reached an agreement with SoundLabs to offer its artists vocal cloning tools through the plugin MicroDrop. In November of this same year, Universal, Sony and Warner themselves closed separate agreements with the brand new startup KLAY to train your “Large Music Model” with licensed music Without a doubt, they are significant agreements, especially because, unlike the cinema wave pressto mention other leisure and communication sectors strongly impacted by AI, majors of music are the first to bury the hatchet. With what it may mean for hostilities to soften in other fields. A doubtful future. For a startSony and Warner maintain active lawsuits against Udio and Suno. And there are multiple doubts about the scope of the contract: supposedly the artists have the right to veto, but As Irving Azoff saysfounder of the Music Artists Coalition, “artists end up on the margins with crumbs.” Other analysts like Frankie Pizá They are even more pessimistic: “What some of us see as a collapse in what we understood as artistry/authorship is quietly becoming a new order regulated by the major record labels themselves” Pizá adds: “The music industry has been perfecting its ability to absorb any technological disruption for decades. It did so with Napster, with YouTube, with the streaming and now with generative AI. The pattern repeats itself: first moral resistance, then demands, then agreement and finally implementation.” Header | Amin Asbaghipour in Unsplash

Udio closed fronts with Universal. The creators were then left unable to download their own AI songs

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Generative music applications have achieved something that seemed unthinkable a few years ago: allowing anyone, with just two prompts, to can produce complete songs with vocals, arrangements and structures that can sound surprisingly real to most who hear them. This experience, which is presented as magical and accessible, has a much less visible side, linked to how these models have been trained and their legal implications. Many of these platforms have turned to large volumes of content available on the weboften copyrighted, to build their systems. The user enjoys the result, creates and shares, until a legal change, an agreement or a lawsuit transforms the tool and the experience is no longer the same. Until just a few weeks ago, udio It was one of the services that best represented that promise of instant creativity. It had managed to attract both curious people and experienced musicians thanks to its simple system, the tools to extend, mix or remake songs and, above all, the possibility of downloading songs for use outside the platform. There was nothing to suggest that this model was about to change. The first indication came when the company began to talk about a “transition phase” linked to new agreements with record companies. It did not yet detail what was going to happen, but it made it clear that the platform was entering a different stage. The day the download button disappeared. Confirmation came when Udio announced thatas part of its transition, audio, video and stem downloads would be disabled for several months. It was a feature that many considered essential, but now they could only play their creations in Udio and share them using links from udio.com. In exchange, the company reported an increase in credits and more generation capacity, although that did not compensate for the feeling of loss. The message was clear: the songs still existed, but they no longer left the walled garden. Warner and Universal chose a different path than the judicial confrontation: turning Udio and Suno into partners rather than adversaries. Universal signed agreements for the next version of Udio to be based on licensed music and offer artists new avenues of income, while Warner did the same with Suno and also sold the Songkick platform to incorporate it into that new ecosystem. Record companies went from denouncing to collaborating, with a clear condition: at least in the case of Warner and Udio, artists and composers would have the possibility of deciding whether their voice, their image or their style could be part of the creations generated by AI. From defendants to partners. Once the content is within the legal space, what is relevant is not only that agreements have been signed, but how the industry’s priorities have changed. A year ago the goal was to put AI platforms on the bench for using protected music to train their models. Today, a growing part of the sector has understood that it may be more profitable to integrate them than to stop them. The move does not eliminate legal conflicts, but it opens the door to a model in which record labels oversee, license and participate in revenue, rather than reacting only through lawsuits. It is a change of focus that signals where the music business is moving. What nobody sees: scraping as the foundation of musical AI. For years, the actual functioning of many generative music models was far from transparent. Some startups, like Suno, admitted to having trained their systems with “virtually every quality music file available on the web,” trusting that such use would be protected by the fair use. However, when record companies began to examine that process, the conflict ceased to be technical and became legal. Images | Universal Music | udio | Unsplash In Xataka | AI has become the best example that if you don’t pay for the product, you are the product

King Gizzard and the Lizard Wizard removed all their songs from Spotify. Immediately afterwards some mysterious versions took their place

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You can leave Spotify, but you don’t leave it completely until Spotify allows you to. King Gizzard and the Lizard Wizard just found out the hard way: They left the platform in protest of the CEO’s investmentsbut there are still his songs inside. The terrifying thing about it: they are not the ones who composed or recorded them. We go, or not. King Gizzard and the Lizard Wizard left Spotify in July 2025: it was a protest against Daniel Ek’s investments in military technology. Weeks later, however, they discovered that several of the group’s songs were still available on the platform. But they were not the originals, but rather instrumental versions that imitated the original songs, with the same artist name, identical titles and official covers. According to Platformer accountthese songs managed to accumulate more than 10 million views before being detected. The trick. Spotify presented these tracks as authentic. As a fan of the band tells Platformer, when playing ‘Deadstick’ from the album ‘Phantom Island’, what sounded was a simplified version, almost a cell phone ringtone, a kind of low-quality version. But without knowing the original song (and especially taking into account how fond of jokes and experimentation this unclassifiable and prolific band is) any listener could have confused it with the real song. The same thing happened with other songs on the album such as ‘Aerodynamic’ and ‘Grow Wings and Fly’. The article sparked a wave of protests that led Spotify to remove the content, confirming that it violated its anti-phishing policy. There are currently no songs from the group on the platform. It is not an isolated case. According to data from the company itself published in September 2025Spotify has removed 75 million tracks classified as spam over the last year. The consulting firm Luminate estimates that about 99,000 songs are uploaded daily to streaming services, often through distributors that do not verify the identity of the artist. The situation is accentuated on other platforms, in what seems to be a widespread problem with a clear trigger: the ease with which songs can be generated using AI. Deezer, for example, counted this same month which receives more than 50,000 tracks completely generated by artificial intelligence every day, 34% of all the content that reaches its servers. 70% of AI-generated music plays, he says, are unauthorized songs or songs that replace real artists. The Ghost of The Velvet Sundown. In June 2025, a band called The Velvet Sundown reached more than one million monthly listeners on Spotify. Its promotional photos had that artificial appearance characteristic of images generated by AI, and its members did not exist on any social network, but the group started with 550,000 monthly listeners after being recommended by the platform’s algorithm. After weeks of denying the accusations, those responsible admitted it was an “artistic provocation” created with artificial intelligence. His songs are still available on Spotify. The dead artists. However, in terms of impersonated artists, the case of deceased artists is more disturbing: numerous songs generated by AI began to appear in official profiles of deceased musicians. The page of Blaze Foley, country singer-songwriter murdered in 1989, received new songs. It also happened with Guy Clark, a Grammy winner who died in 2016, Sophie, an electronic artist who died in 2021, and Uncle Tupelo, Jeff Tweedy’s former band from Wilco. All of these tracks were uploaded by distributors without any verification and remained active for weeks before being detected. A systemic problem. Although Spotify is the visible head of this chaos, there is a real mess at many points on the diffusion scale. For example, distributors like DistroKid allow massive topic uploads without verifying the real identity of the artist. In the aforementioned September communication, Spotify announced new anti-spoofing policies and an anti-spam filter, but at the moment its effectiveness has not been proven. For now, the King Gizzard case raises a devastating question: after abandoning a platform, you do not abandon it completely. Maybe you’ll never do it. Header | Paul Hudson

pop divas have changed songs for content

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On October 3, the new and successful album by Taylor Swift, at least if we understand that “coming out” means the physical fact that the vinyl is available to buy in stores and that you can already listen to the songs on Spotify. Because the reality is that the North American singer-songwriter lives in a perpetual state of promotion born from the fusion a few years ago of his private life and his work as an artist. We are not with the hackneyed “the album began when the artist faced the blank page”, but with a conscious effort to maintain attention for longer than the 41 minutes and 40 seconds it lasts. The Life of a Showgirl. We can say that the album started with her presentation on her now fiancé’s podcast, she continued with that Instagram announcement of your wedding with 37 million likes and continued with his “documentary”, the second highest grossing film October in the United States. To tell the truth, Taylor Swift, while continuing to dedicate herself mainly to making songs, has mutated into a politician. More than anything because it is in a constant campaign for the attention of his fans. or even if we want to see it from a more well-intentioned and not so commercial prism, he carries out a kind of public service for his followers. It can’t produce 12 songs every month, but it is capable of leaving small recurring crumbs to keep voracious fans in need of content entertained. ‘I Bet You Think About Me’ If for a mere mortal it is impossible to please everyonemuch less if you are the North American singer-songwriter, accustomed to criticism directed more at the person than at the music itself. Nor should the chapter of Taylor Swift in ‘Family Guy’‘, where they booed her for being happy with her boyfriend and writing songs about that instead of her disappointments in love; but there is some evident point and separation between the stage Eras Tour which closed about a year ago and The Life of a Showgirl. It’s not just Taylor Swift that the conversation around her new job is going to last weeks or even months. The album came out earlier this month, but how long have your fans been talking about it? His discography is his biography and each Was It is an approach to a chapter in the life of the singer from Pennsylvania. Her followers keep Swift relevant, whether because of re-recording of his previous albumsthe recovery of his masterstheir love relationships, your friends… Not only is his discography his biography, but both have a symbiotic relationship. Few details of her life are unknown to her fans, and with each new release, Swift creates new satellite experiences. She is fully aware of the attention she receives and of the entourage that will be willing to participate in everything she proposes; how to discover countless Easter Eggs to events unthinkable for other types of creators: yaa in 2014, anticipating the release of his album 1989Swift held a series of «1989 Secret Sessions» at his different residences around the world where carefully selected fans were told that they were going to attend some kind of secret event, without knowing what awaited them. Another example is the event that accompanied the re-recording of Grid and the launch of ‘All Too Well’ (10 minute version) (Taylor’s Version). On this occasion, Swift decides to present and give her fans a romantic and heartbreaking short film video clip. So, seeing how the author usually operates and seeing that the end of the pharaonic last tour was approaching, her audience was already rambling about what her new project would be. And, as always, Swift left them a clue: in her last show she went, after finishing her last song, to an orange door, beginning the color and the entrance of the new Was. (Taylor’s Version) With the singer-songwriter we have the impression that we are in a perpetual happening of You were and vinyls. The Life of a Showgirl It came out on October 3 but we were already in the loop of their new work and experiencing their new album since that ‘Karma’ at the end of the Eras Tour. It’s all part of a person’s life showgirl: their love relationship, their NFL appearances to see his fiancé, the revelation of his new job on his own sports podcast Travis Kelce and his brother Jasonthe promotion of the different vinyl versions that we can buy even without listening to a single, the announcement of his marriage and the conversation around his engagement ring. Perhaps it all started organically thanks to its global relevance, but there is little doubt that this continuous state of promotion is a marketing weapon that it uses to its advantage. It is curious that the fact of making all the songs on the album known to the public seems like another important step, but not even the main one. We not only talk about everything lore that is created just before the release, or the enormous and lucrative anticipation of fans that ends when they finally get to hear the songs. In the case of Swift it goes much further and is renewed with each new release: On this occasion the success of The Life of a Showgirl came accompanied by an event very box office in the form of a party/launch like ‘The Official Release Party of a Showgirl’. While waiting for the doors to the room to open, a girl of about seven years old arrived accompanied by her mother. Full of glitter and wearing a dress appropriate for the occasion, the man from the cinema asked her if she was coming to a birthday; “No, I’m coming to Taylor’s,” he snapped before looking for someone to exchange his words with. friendship bracelets. And like her, groups of friends or couples add up to a number of viewers well above the average for a Friday afternoon screening. This community … Read more

Spotify is dealing with an avalanche of songs made with AI. So you have decided to react to mark the limits

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You open Spotify, you run with a song that you cannot stop listening and, nevertheless, the name of the “artist” sounds at all. You wonder if there is a band behind or if it is a Track generated by AIand the doubt is not trivial: the trained ear may detect it, but for millions of listeners the border has become blurred. With generators like Suno either You raising their creation quality, catalogs are filled and the context matters. This week, Spotify announced New policies to stop three fronts: “Slop”, impersonations and transparency on the use of AI. The company states that it wants to protect artists and prevent the public from feeling deceived, without prohibiting responsible use of these tools. In just a few months, music generators have become accessible tools capable of producing thousands of subjects ready to be uploaded to streaming platforms. We do not talk about master compositions, but about songs that meet the minimum to sneak into mass catalogs. The result is an avalanche that makes it difficult to distinguish between genuine proposals and simple algorithmic exercises. For stamps and artists, this saturation not only generates confusion among listeners, it also threatens to dilute income in a system where each reproduction counts to distribute royalties. Spotify’s plan against music made with AI Spotify frames its new rules in a simple idea: music has always been crossed by technology, from the multipist tapes to auto-tune. The current difference is that artificial intelligence evolves at a speed that generates uncertainty. In this scenario, the platform states that it wants to reinforce transparency and shield the confidence of listeners, while respecting the freedom of artists to decide how to incorporate these tools into their creative process. One of the most sensitive spotlights for Spotify is the impersonation of identity. The company has hardened its rules and clarifies that it will not allow songs that reproduce the voice of an artist without its explicit authorization. This includes voice clones generated with artificial intelligence, “Deepfakes” and any unauthorized vocal replica. In addition, new measures are tested with distributors to prevent music from foreign profiles, an increasingly common attack. The objective is that musicians can denounce quickly and maintain control over their own artistic identity. Another front that the platform wants to stop is spam. Spotify explains that some users try to manipulate the system by uploading songs of just 30 seconds to accumulate reproductions with Right to paymentor repeating the same theme with minimal changes in metadata. To combat it, in the coming months will deploy a filter that will identify this type of practices and stop recommending them. The company ensures that the measure is necessary to protect the distribution of royalties and remember that in the last 12 months it eliminated 75 million fraudulent tracks. The third leg of the plan is transparency. Spotify collaborates with DDEX, the agency responsible for setting standards in the music industry, to create a metadata system that reflects the role of AI in each song. The objective is that the credits indicate if artificial intelligence has been used in the voice, in the instruments or in the production, so that the listener knows clearly. As reported by the company, 15 seals and distributors have already promised to adopt this standard, although for now there is no release date. The real impact of the new rules will be measured over time. For artists, reinforcement against impersonation and spam can translate into a fairer environment to compete for attention and royalties. For listeners, promise is a clearer experiencewith credits that allow distinguishing which part of a song has been generated by Ia. Even so, there is uncertainty about its scope: from the possibility of errors in automatic detection to the difficulty that stamps and distributors adapt their processes quickly and homogeneously. Spotify will probably continue working after this announcement. The effectiveness of the filters and the adoption of the new credits will depend on the industry as a whole move in the same direction. AI will continue to evolve and new methods are likely to make control systems. In that scenario, the company will have to demonstrate that its measures not only slow the abuses, but also help maintain the confidence of the listeners and the value of artists’ work. Images | Xataka with Gemini 2.5 | @felirbe In Xataka | OpenAi wants to bill as much as Microsoft in five years. For this

Spanish is more fashionable than ever in China. We know it because they are even translating reggaeton songs to the Chinese

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Spain is a very popular country in China. Good proof of this are the 647,801 Chinese tourists who visited our country in 2024. Which represents an increase of 66.7% compared to 2023, according to published data by The reason. That euphoria for Spain also has its reflection in the increase in the interest of the Chinese to learn Spanish. One of the most obvious tests of that enthusiasm we have found in the most unexpected place: Notease Cloud Music, a streaming music platform similar to Spotify in which the number of translations to Chinese have been fired from the letters of the lyrics of the lyrics of the letters of the letters of the Reggaeton songs in Spanish. Spanish in Chinese classrooms. Spanish is living an unprecedented boom in China. According to the report “The Spanish: A Living Language” of 2024 prepared by the Cervantes Institute, there are currently about 54,283 Spanish students in the teaching centers of the Asian country. Of these, approximately 8,874 are learning Spanish at primary, secondary and professional training levels, while 34,823 are learning it at the university. The most striking thing is that 10,586 are learning it in academies and by other media and that is where the use of other alternative learning channels of the language such as the lyrics of the songs comes into play. Songs to learn Spanish. According to An elaborate study by the Department of Translation and Language Sciences of the Pompeu Fabra University of Barcelona, ​​Latin music, and especially reggaetonhas become a powerful tool for teaching and learning Spanish in China. The lyrics of the reggaeton songs are bringing students closer to colloquial and cultural expressions of the Spanish -speaking world that They have no representation In the academic field. According to the study of which has echoed Phys.orgnon -professional and users translators have shared in the Chinese music streaming application Note was Cloud Music Translations in Chinese of songs originally sung in Spanish. Some of those letters have achieved millions of visualizations, becoming referents for those who learn Spanish for free. A letter from Bad Bunny translated into Chinese China goes perreo. According to the data collected by the study of the Pompeu Fabra University, the reggaeton songs They are the most popular Among Chinese students seeking to learn Spanish in an alternative way, being the preferred genre for their catchy rhythm and colloquial language. However, the translation of the letters of Reggaeton raises unique challenges due to explicit content and the presence of colloquial expressions without direct equivalent in Chinese. To save these cultural and linguistic differences, translators use strategies such as domestication, the use of euphemisms and the creative adaptation of phrases to go unnoticed to censorship of algorithms In China. In China nobody “leaves you planted”. Colloquial expressions That we usually use in Spanish, such as “left” or “fuck”, have no direct translation to the Chinese, so translators have lay new linguistic bridges using their own expressions with a similar meaning. The researchers detected that, for example, to translate the expression “leave planted”, the Chinese translators used the Chinese expression “release pigeons (放鸽子). Traditionally, the pigeons have been considered messengers and, in the Chinese imaginary, release a dove that does not return is associated with a broken promise, approaching in a symbolic way the Chinese the meaning of the expression to the local public. Sexual references, so common in Latin genres, have also had their creative translation, and have changed “fuck” or “do” the original letters for expressions such as “possess” or “exchange pleasure.” In addition, to avoid censorship, asterisks are interspersed between the Hanzi (Chinese characters) to mislead the censorship algorithms (性*感/火*辣) when words “uploads” or anglicisms such as Hot, sexy either Horny. In Xataka | One in three employees uses AI at work: your position is not in danger because most use it as a translator Image | Wikimedia Commons (Glenn Francis), Unspash (Ondřej Matouš)

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