After a long season of little women, pregnancy scares, engagements and questionable miscarriages. The women finally had a chance to confront each other at the reunion. Kevin Frazier was also the host. I did not even get a chance to get comfortable on the couch, when Minnie started throwing around the B word. I was shocked to hear Andrea and Chris are back together after walking out on her multiple times during the course of her pregnancy. Emily tries to jump in and Chris is not having it and claimed that he is the victim and dropped a bomb that Andrea’s family has threatened to kill him. Has money changed her ways? I love her and her fiancee together so I am glad that she is taking control of her anger. I am even more proud that her voice over career is flourishing. In her own words, “ I don’t always need to clap back”. Okay girl! In a deeper subject, it was very hard to watch Emily talking about losing her son. She also admitted about her not leaving the house for 3 weeks after his death. She said she is OK now because of her daughter. Emily is strong as hell and I cannot imagine being in her shoes. This is one of the reasons that I am frustrated at Minnie, after watching someone lose a child, she should not take the miscarriage situation lightly. She went from thinking she was pregnant to being 14 weeks pregnant. Where is the paperwork? She needs help she continued to lie by saying Pastor Troy said they could try again. Juicy, the queen of Atlanta boo, is on the hot seat when Minnie brought out her mom. Seriously, she can’t even fight her own battles. As part one is concluding more questions are raised when Minnies mom insinuated that Juicy had romantic feelings for Minnie. I can’t even deal. I guess we have to wait for next week to find out.
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The Illusion of Creativity
AI-generated music is often marketed as “artistic” or “educational.” But what does it really teach?
- That style can be replicated without understanding.
- That emotion can be simulated without feeling.
- That effort can be bypassed with a prompt.
For young creators, this sets a dangerous precedent. Why learn to play guitar when an algorithm can do it faster? Why study harmony when AI can generate chord progressions in seconds? The risk isn’t just laziness — it’s the loss of depth, discipline, and the tactile joy of creation.
I have listened to several AI-generated music covers. My initial reaction was one of considerable impressiveness, particularly regarding the reimagining of classic pop hits in diverse genres with novel arrangements. Here is one good example a-ha — Take On Me
However, after engaging with several such Ai generated song covers, a sense of emotional detachment emerged, attributable to the perceived absence of human artistry and genuine sentiment, resulting in a technically flawless yet ultimately soulless auditory experience.
Copyright in Crisis
What does the copyright law say about AI generated music, especially in field of music covers. Who is liable for copyright in this case, AI developers, people who used AI to generate music or people who published it on music platforms?
Recent lawsuits show that the music industry is pushing back hard:
- Universal, Sony, and Warner sued AI music platforms Suno and Udio in 2024 for allegedly training their models on copyrighted songs without permission Ars Technica The Lyon Firm.
- They’re seeking up to $150,000 per infringed song, arguing that the AI outputs resemble famous tracks and voices (e.g., Mariah Carey, Michael Jackson).
- These lawsuits target the developers of the AI tools — but they raise broader questions:The legal gray area is training data. Courts haven’t yet ruled definitively on whether using copyrighted songs to train AI counts as infringement or fair use Sites at USC.
But who’s liable?
Role | Legal Risk | Why |
AI Developers | ✅ High | For training on copyrighted material without licenses. |
Users | ⚠️ Moderate | If they intentionally recreate protected works. |
Publishers/Platforms | ✅ High | For distributing infringing content. |
The grey area lies in training data. Courts haven’t yet ruled definitively on whether using copyrighted songs to train AI counts as infringement or fair use. Meanwhile, AI-generated works themselves aren’t eligible for copyright unless a human provides substantial creative input — leaving them in legal limbo.
The Educational Mirage
Some argue that AI music helps people learn genres, production styles, or vocal techniques. But this “education” often lacks context. It’s like learning to paint by watching a printer — technically impressive, but creatively hollow.
True musical education involves:
- Struggle and iteration: Learning through mistakes.
- Emotional connection: Expressing what words can’t.
- Cultural lineage: Understanding the roots of sound.
AI shortcuts bypass all of this. And in doing so, they risk flattening the rich terrain of human creativity into a sterile landscape of algorithmic mimicry.
Why This Fight Matters
This isn’t just about music. It’s about the future of art, storytelling, and human expression. If we allow machines to dominate creative spaces, we risk turning culture into content — optimized, monetized, and devoid of soul.
We must ask: Do we want a world where art is made by machines, or one where machines help humans make better art?
5 Key Takeaways
- AI-generated music blurs the line between innovation and erosion in the creative arts
- AI-generated music raises questions about copyright, culture, education, and artistic expression
- AI-generated music can replicate style without understanding, simulate emotion without feeling, and bypass effort with a prompt
- AI-generated music sets a dangerous precedent for young creators by potentially leading to a loss of depth, discipline, and joy of creation
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