PARIS: French streaming service Deezer is now alerting users when they come across music identified as completely generated by artificial intelligence, the company told AFP on Friday in what it called a global first.
The announcement by chief executive Alexis Lanternier follows repeated statements from the platform that a torrent of AI-generated tracks is being uploaded daily — a challenge Deezer shares with other streaming services including Swedish heavyweight Spotify.
Deezer said in January that it was receiving uploads of 10,000 AI tracks a day, doubling to over 20,000 in an April statement — or around 18 percent of all music added to the platform.
The company “wants to make sure that royalties supposed to go to artists aren’t being taken away” by tracks generated from a brief text prompt typed into a music generator like Suno or Udio, Lanternier said.
AI tracks are not being removed from Deezer’s library, but instead are demonetised to avoid unfairly reducing human musicians’ royalties.
Albums containing tracks suspected of being created in this way are now flagged with a notice reading “content generated by AI,” a move Deezer says is a global first for a streaming service.
Lanternier said Deezer’s home-grown detection tool was able to spot markers of AI provenance with 98 percent accuracy.
“An audio signal is an extremely complex bundle of information. When AI algorithms generate a new song, there are little sounds that only they make which give them away... that we’re able to spot,” he said.
“It’s not audible to the human ear, but it’s visible in the audio signal.”
With 9.7 million subscribers worldwide, most of them in France, Deezer is a relative minnow compared to Spotify, which has 268 million.
The Swedish firm in January signed a deal supposed to better remunerate artists and other rights holders with the world’s biggest label, Universal Music Group.
But Spotify has not taken the same path as Deezer of demonetising AI content.
It has pointed to the lack of a clear definition for completely AI-generated audio, as well as any legal framework setting it apart from human-created works.
Streaming platform Deezer starts flagging AI-generated music
https://arab.news/ze4gf
Streaming platform Deezer starts flagging AI-generated music
- French streaming service Deezer is now alerting users when they come across music identified as completely generated by artificial intelligence, the company told AFP on Friday
To infinity and beyond: Grendizer’s 50 years of inspiring Arabs
- 50 years after its creation, the Grendizer anime series continues to capture Arab imagination
- Arab News Japan speaks to creator Go Nagai, Middle Eastern fans and retells the story behind the UFO Robot tasked with protecting our planet
LONDON: Few cultural imports have crossed borders as unexpectedly, or as powerfully, as Grendizer, the Japanese giant robot that half a century ago became a childhood hero across the Arab world, nowhere more so than in Saudi Arabia.
Created in Japan in the mid-1970s by manga artist Go Nagai, Grendizer was part of the “mecha” tradition of giant robots. The genre was shaped by Japan’s experience during the Second World War, and explored themes of invasion, resistance and loss through the medium of science fiction.
But while the series enjoyed moderate success in Japan, its true legacy was established thousands of kilometers away in the Middle East.
The anime “UFO Robot Grendizer” arrived on television in the region in 1979, dubbed into Arabic and initially broadcast in Lebanon during the Lebanese civil war. The story it told of the heroic Duke Fleed, a displaced prince whose planet had been destroyed by alien invaders, struck a chord with children growing up amid regional conflict and occupation by Israel.
Its themes of defending one’s homeland, standing up to aggression and protecting the innocent were painfully relevant in the region, transforming the series from mere entertainment into a kind of emotional refuge.
Much of the show’s impact came from its successful Arabization. The powerful Arabic dubbing and emotionally charged voice-acting, especially by Lebanese actor Jihad El-Atrash as Duke Fleed, lent the show a moral gravity unmatched by other cartoons of the era.
The theme song for the series, performed by Sami Clark, became an anthem that the Lebanese singer continued to perform at concerts and festivals right up until his death in 2022.
By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. For many, it was not only their first exposure to anime, it also delivered lessons on values such as justice and honor.
Grendizer was so influential in the region that it became the subject of scholarly research, which in addition to recognizing the ways in which the plight of the show’s characters resonated with the audience in the Middle East, also linked the show’s popularity to generational memories of displacement, particularly the Palestinian Nakba.
Half a century later, “Grendizer” remains culturally alive and relevant in the region. In Saudi Arabia, which embraced the original version of the show wholeheartedly, Manga Productions is now introducing a new generation of fans to a modernized version of the character, through a video game, The Feast of The Wolves, which is available in Arabic and eight other languages on platforms including PlayStation, Xbox and Nintendo Switch, and a new Arabic-language anime series, “Grendizer U,” which was broadcast last year.
Fifty years after the debut of the show, “Grendizer” is back — although to a generation of fans of the original series, their shelves still full of merchandise and memorabilia, it never really went away.
