A lot of this stuff people are just not going to want.

Do they want to hear John Coltrane collaborating with Carly Ray Jepson?

It was that going to seem goollish and weird.

I don't think we know.

I'm Max Fisher sitting in for John this week with something I've been wanted to bring you

for a while. I am pretty skeptical of AI's potential and creative fields.

The major AI models are nearing a technical ceiling while their output remains stuck in the uncanny valley.

This technology was supposed to bring us AI-generated novels and feature films and instead

it's drowning us in deep fakes, weird spam images and sloppy forgeries.

Music might be an exception though.

I'm not saying that Chatpte is going to top the Billboard 200

anytime soon, but something is happening. In other fields like entertainment and journalism,

people are rebelling against technology that they perceive as a threat to not only

their jobs but to everything they value about their craft. And that is not quite what you

were seeing in music. Yes, there is skepticism, there is concern, but the big labels are cautiously embracing AI.

So are a number of artists, and the results are not all bad.

Here to talk to me about why this is happening and what it means for the future of music is journalist and

author John Seabrook. John has long covered the music business and many other topics for

the New Yorker, most recently he reported deeply on that industry's experimentation with AI.

John Seabrook, welcome to offline.

Thanks, great to be here.

So before we get to AI, I want to talk about Napster, the file sharing service that launched in 1999 and almost

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