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Peter Gabriel warns musicians that AI tech could be coming for their jobs

by metro.co.uk Leave a Comment

Peter Gabriel believes AI machines will be able to perform most jobs in the future – and he’s encouraged his fellow musicians to embrace it.

The legendary singer and songwriter, 73, who first found fame with progressive rock band Genesis in the 1970s, has said AI will eventually dominate our lives.

Gabriel, who left Genesis in 1975, then embarked on a successful solo career that saw him bag four top 10 singles and two number one albums in the UK.

The decision to leave the band resulted in their drummer, Phil Collins , becoming their full-time singer and lead songwriter from the 1980s onwards.

Now, in a new interview, he has responded to comments made by fellow veteran singer Nick Cave, who referred to a song created by ChatGPT as ‘grotesque’.

‘We’re only just building AI, we have no idea what it’s going to achieve,’ Sledgehammer singer Gabriel said, referring to AI as a ‘powerful new tool’.

Speaking to Uncut magazine, he continued: ‘I can’t think of anyone whose job couldn’t be done better by Al in 10 years time, maybe five.

‘For instance, when I drive down to the studio, my Tesla is doing a lot of the driving for me – but I’m still keeping my hands on the wheel.’

‘The same thing is going to happen more in any process, including creativity. With some of the AI, half the artists want to play with it and half want to shut it down.’

Gabriel advised his fellow musicians to work alongside AI as opposed to ‘grumbling’ about it and ‘pretending it doesn’t exist’.

It’s unknown whether the Solsbury Hill hitmaker will be using AI or ChatGPT technology on his upcoming project, entitled I/o.

I/o, his first album since 2011’s New Blood, is expected to be assembled by a group of recordings from the day of each full moon in 2023.

Gabriel revealed in an interview before the pandemic that he had taken a brief hiatus from making music after his wife Maebh was diagnosed with non-Hodgkin’s lymphoma in 2016.

After Maebh recovered from her illness thanks to a ground-breaking new treatment known as CAR-T therapy, Gabriel went back into the studio.

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Music

Pastor and musician saved by his mother’s prayers after he was pronounced dead, he says

by www.foxnews.com Leave a Comment

Pastor, Musician Travis Greene shares harrowing near-death experience: ‘God restored my life’

Pastor and 5-time Grammy Award-nominee Travis Greene says after a four-story fall and being pronounced dead, he decided to travel the world spreading the message of Jesus.

Many people all over the globe have experienced the power of prayer — including pastor and musician Travis Greene.

Green, of Columbia, South Carolina, has felt that power in a life-changing way.

When he was just four years old, he fell from a four-story window —and was pronounced dead soon after, he revealed.

TEXAS MOM SUFFERS QUADRUPLE AMPUTATION, CREDITS HER FAITH IN GOD AND A LITTLE DOG FOR PULLING HER THROUGH

Greene joined “Fox & Friends Weekend” on Sunday for the “Faith & Friends” concert series to discuss the event — and he recalled how the power of prayer brought him back to life.

“[I was] pronounced dead, and my mother prayed for me and restored my life,” he said.

Pastor Travis Greene joined the "Faith and Friends Weekend" concert series to discuss his amazing story. He also performed a song from his band's new album.

Pastor Travis Greene joined the “Faith and Friends Weekend” concert series to discuss his amazing story. He also performed a song from his band’s new album. (Fox News)

The five-time Grammy Award nominee, who was living with his mother in Germany at the time of the fall, said he miraculously survived.

He gives all the glory to God for his recovery.

In addition to being a musician, Greene is a pastor at Forward City Church in Columbia.

Green and the band perform for hundreds of people at church every weekend, he said.

FOURTH SUNDAY OF LENT: CHANGE WITHIN OURSELVES COMES FROM LIGHT OF CHRIST, NYC PASTOR SAYS

The band is releasing a new album, “Expect Impossible,” which releases on April 7, 2023, he noted.

Greene and the Forward City band hope to spread the messages of the gospel through their music, he said.

ARKANSAS BOOK EVENT INTERRUPTED BY DRAG QUEENS IN ‘DISTURBING’ OUTFITS AS KIRK CAMERON AND GUESTS SPEAK

“We use that to be able to give people a greater truth that can help inspire them in their life,” the musician said.

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Forward City is a nontraditional church, one that welcomes visitors who are very familiar with Christ and perhaps tired of hearing the gospel in traditional ways, Greene said.

It also welcomes others who are just beginning to learn about the faith.

Greene and others from Forward City Church hope to spread the gospel across the globe, said the musician and pastor from Columbia, South Carolina.

Greene and others from Forward City Church hope to spread the gospel across the globe, said the musician and pastor from Columbia, South Carolina. (Fox News)

“We’re traveling the world, letting people know that Jesus is real and he loves us,” he said.

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The group of musicians sang the song “Tent Revival” from their upcoming album for the group of fans at the “Faith & Friends Weekend” concert series performance.

Brittany Kasko is a lifestyle production assistant with Fox News Digital.

Def Leppard rocker Rick Allen trying ‘to move from confusion and shock’ after being ‘assaulted’ by teenager

by metro.co.uk Leave a Comment

Def Leppard rocker Rick Allen has spoken out for the first time after he was attacked outside his hotel in Fort Lauderdale while on tour with Motley Crue.

The 59-year-old drummer has thanked everyone for their ‘overwhelming support’ and said he is ‘working on recovering in a safe space’ after he became the victim of an assault.

It took place while he was standing outside the Four Seasons Hotel in Fort Lauderdale on March 13 smoking a cigarette.

He had performed with Def Leppard at the Seminole Hard Rock Hotel and

A police report revealed the musician had suffered an injury when his head hit the floor.

In a statement to ABC, Allen said people’s ‘love and prayers are truly helping’ on the road to recovery.

‘My wife Lauren [Monroe] was thankfully not with me at the time of the incident. We are together now, and working on recovering in a safe space,’ he continued.

‘We ask you to join us in our effort to move from confusion and shock to compassion and empathy. We understand this act of violence can be triggering for so many people.’

He went on to say he is thinking of all the fans, veterans, and first responders around the world, adding ‘together with love, we can all get through these difficult times.’

The report stated Allen was hit by a man who lunged at him in a ‘full run’ and ‘knocked him backwards’.

A woman who came to help Allen – who lost his left arm in a car accident in 1984 – was also pushed to the ground and assaulted.

The report states the unnamed female attempted to escape by running back into the hotel but was grabbed by her hair and hauled back out into the street.

Officers of the Fort Lauderdale Police Department later arrested 19-year-old Max Edward Hartley of Ohio, who was visiting Florida for Spring Break.

Hartley was charged with two counts of battery, four counts of criminal mischief, and a count of abusing an elderly or disabled adult. He was later released on bail.

Allen cooperated with officers and gave a full sworn statement about the incident.

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Adult Head Games, Focused on a Child

by www.nytimes.com Leave a Comment

Henry James’s short novel “What Maisie Knew” was suggested by a friend’s casual mention of “some luckless child of a divorced couple” caught in a custody fight. In the 1890s this kind of situation was perhaps more remarkable than it is now, but James’s interest was, as always, less in the sensational aspects of the story than in the window it offered into the relational dynamics of human psychology.

In our own time, divorce and its consequences seem more banal than scandalous, but James’s tale of a young girl, “rebounding from racket to racket like a tennis ball or a shuttlecock” as her parents pursue their own narcissistic ends, still has the power to trouble and to shock. In their brilliant, haunting adaptation of “What Maisie Knew,” set in 21st-century Manhattan, the directors, Scott McGehee and David Siegel, and the screenwriters, Nancy Doyne and Carroll Cartwright, take liberties with the Master’s plot while remaining true to the “design” that he somewhat boastfully explained in his preface to the New York Edition of the book.

James relayed an adult drama of marital spite, sexual jealousy, meanness and weakness entirely through the point of view of a child, who could not possibly understand everything she witnessed. “What Maisie Knew” is really, though not grammatically, a question about the character’s understanding of what the grown-ups around her are doing. The reader knows more than she does, but doesn’t always know what she knows, and the shadow that falls between our knowledge and hers is where the pathos of the matter lies. James: “I lose myself, truly, in appreciation of my theme on noting what she does by her ‘freshness’ for appearances in themselves vulgar and empty enough. They become, as she deals with them, the stuff of poetry and tragedy and art.”

And now cinema, in spite of the lingering superstition that James’s writing cannot be translated into film. To play Maisie (an entirely credible name for the 6-year-old daughter of a pair of pretentious New Yorkers), the filmmakers have enlisted Onata Aprile, a wide-eyed, dark-haired pixie whose quiet watchfulness is perfect for the role. Wisely, Mr. Siegel and Mr. McGehee do not try to coax too much acting out of her. There are no displays of precocious insight or histrionic innocence. Maisie says, in every case, more or less what a child would and tries to please the wayward grown-ups around her even as she deflects their efforts to make her feelings answer their needs.

Her parents are Beale (Steve Coogan), an art dealer, and Susanna (Julianne Moore), a musician. Their fights quickly and inevitably lead to a breakup, after which Maisie becomes a pawn in a bitter game. Each wants her in order to spite the other, and also as evidence of virtue. Their declarations of love are, in the moment, perfectly sincere, but also woefully inadequate.

Beale, a variation on the jokey, jerky guy Mr. Coogan can play in his sleep, fills his daughter’s life with presents and promises, and then vanishes on business trips for months on end. Susanna showers Maisie with manipulative affection and then wanders off into bouts of self-pity or creative abandon.

For a parent, watching these monsters has a twofold effect. On the one hand, you may be forgiven a frisson of self-righteous superiority, since whatever your own shortcomings, you are surely above such blatant acts of deceit and neglect. On the other hand, since Beale and Susanna exist on a recognizable continuum of parental behavior, you can’t help feeling implicated.

“What Maisie Knew” lays waste to the comforting dogma that children are naturally resilient, and that our casual, unthinking cruelty to them can be answered by guilty and belated displays of affection. It accomplishes this not by means of melodrama, but by a mixture of understatement and thriller-worthy suspense. Every Hollywood hack knows that nothing grabs an audience’s emotions like a child in peril, and the directors make expert use of this wisdom, deploying Nick Urata’s score and sly tricks of framing and focus to create a mood of disorientation and dread. What Maisie learns is that nobody will protect her.

And yet what we see, just over her head, might best be described as a sex farce. After the split with Susanna, Beale takes up with Margo (Joanna Vanderham), who had been Maisie’s live-in nanny and who remains the only trustworthy adult in her life. Susanna, more out of calculation than affection, takes up with Lincoln (Alexander Skarsgard), a studly young fellow without much ambition. These stepparents in effect share custody of the girl, and they begin to look like an impromptu, unofficial family.

James’s book ends on a sly, perfect note of ambiguity: “She still had room for wonder at what Maisie knew.” (“She” is Mrs. Wix, a character who has been folded into Margo in the film). The viewer of “What Maisie Knew,” devastated and relieved by this intimate tale of betrayal and perseverance, is left in a similarly divided state of confusion and amazement, with ample room for wonder.

“What Maisie Knew” is rated R (Under 17 requires accompanying parent or adult guardian). Not in front of the children!

Jazz renegade Theo Croker returns to his Jacksonville roots

by www.npr.org Leave a Comment

Theo Croker performs at Jacksonville Jazz Festival, October 1, 2021 Kim Reed/Courtesy of Artist hide caption

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Kim Reed/Courtesy of Artist

Theo Croker performs at Jacksonville Jazz Festival, October 1, 2021

Kim Reed/Courtesy of Artist

Few musicians live in the present moment, at the convergence of what came before and what’s up ahead, with more panache than Theo Croker . A trumpeter, producer and composer rooted in the jazz lineage, he’s also within the vanguard of a peer group blending hip-hop, electronic music and contemporary R&B. The synthesis shines throughout his recent albums, notably the feature-laden Love Quantum , which arrives this summer, and BLK2LIFE // A FUTURE PAST , which released last year.

In Oct. 2021, Croker kicked off a world tour for BLK2LIFE at the Jacksonville Jazz Festival. Jazz Night in America caught up with him there, for what he characterized as an exciting test run for his working band. “I was triggering samples from a laptop and through a headphone jack, using pedals that I maybe hadn’t worked out yet,” he says. “And maybe singing vocals that I had never practiced yet. And just trying to be brave.”

Jacksonville is Croker’s old stomping grounds, the place where he formed his musical foundation. So in this episode, we’ll also take the opportunity to tag along on a visit to his alma mater, the Douglas Anderson School of the Arts. We’ll hear from some of his former classmates, attesting both to his obsessive commitment and his unruly spirit, and from mentor (and NEA Jazz Master, vocalist and actor) Dee Dee Bridgewater , who first encountered Croker during a residency in Shanghai and who takes pride in his trajectory — still very much an unfolding story.

Musicians:

Theo Croker, trumpet; Michael King, piano, keyboard, organ; Eric Wheeler, bass; Shekwaga Ode, drums

“Love from the Sun” from Escape Velocity

Theo Croker, trumpet; Dee Dee Bridgewater, vocals; Irwin Hall, alto saxophone; Michael King, fender rhodes, piano; Eric Wheeler, acoustic bass; Kassa Overall, drums, programming, sampling, sequencing.

Set List:

(All compositions by Theo Croker, except as indicated)

  • No More Maybe (Theo Croker / Iman Omari)
  • Love from the Sun feat. Dee Dee Bridgewater (Carl Clay / Wayne Garfield)
  • Happy Feet (Theo Croker / Malaya)
  • Imperishable Star
  • Hero Stomp

Credits:

Writer and Producer: Alex Ariff; Host: Christian McBride; Project Manager: Suraya Mohamed; Vice President of Visuals and Strategy at NPR Music: Keith Jenkins; Executive Producers: Anya Grundmann and Gabrielle Armand.

Concert engineer: Uller Bailey & Jim Stafford, Eclipse Recording Co. St Augustine, Florida; Mix: Corey Goldberg.

Special thanks to Jim Daniel, Chris Mees, and the team from the Jacksonville Jazz Festival: Rick Huber, Scott Gartner, Steve Flatt and Paola Lorenzo.