An algorithm produced every possible melody. Now its creators want to destroy songwriter copyrights.
A computer coder and a lawyer decide they have a right to speak for all the songwriters that ever lived, those who are alive today, and all those yet to be born.
- A computer coder calculated all of the possible 8-measure, 12-beat melodies possible from Western music's 12 notes.
- The coder and a lawyer decided to claim ownership of every song melody ever.
- The two of them submitted all of these songs into the public domain so no one could ever be found in court to be plagiarizing a song.
If we learned anything at all from Jurassic Park, it's that just because you can do something doesn't mean you should do it. Even so, coder Noah Rubin and lawyer Damien Riehl decided to construct an algorithm they claim can produce every 8-bar, 12-beat Western melody possible. In Western music there are only 12 notes in an octave, and thus a limited number of possible melodies, reputedly 68,719,476,736. So the database they've generated contains every song ever written and all of the ones that ever will be.
The fact that the duo decided on the 8-bar length is no coincidence — it's the length often used to signify copyright infraction when someone is brought to court for plagiarizing a song copyrighted by someone else. That decision reveals why the project is less a "gee whiz, look at what we can do with math" programming experiment into a sweeping attack on songwriters' rights. How? Because they've just released their entire database of algorithmically generated melodies into the public domain to nullify anyone's right to claim ownership of — and thus derive compensation from — any of them. If this holds up in courts, they will have deprived songwriters of what little legal recourse they have if someone steals their song.
Why on Earth would they do this?
"Uptown Funk" producer Jeff Bhasker and Bruno Mars with their Grammy award
Image source: Robyn Beck/Getty
The motivation for Rubin and Riehl's project was putatively the duo's sympathy for famous — often wealthy — music stars who are sued for compensation by the original composer of melodies upon which their hits are based. One might suspect the duo are covertly engaging in a theft of their own, trying to steal a bit of fame fame from defendants. They even have a TEDTalk.
Successful musicians go through this all the time. Sometimes the claims of plagiarism are valid, sometimes ridiculous, but which is which is for courts to decide, and similarities between songs may be subtle or obvious.
The problem goes way back. George Harrison turned the Chiffons' "He's So Fine" into "My Sweet Lord" while his former bandmate John Lennon pinched much of Chuck Berry's "You Can't Catch Me" for The Beatles' "Come Together." Berry's music was also, um, "borrowed from" by the Beach Boys: Their breakthrough hit "Surfin' USA" was nearly identical to his "Sweet Little Sixteen." "You Can't Touch This" by M.C Hammer was built over a phrase from Rick James" "Super Freak."
More recently, Sam Smith was sued for the similarity of "Stay With Me" to "I Won't Back Down" written by Tom Petty and Jeff Lynne. And though "Uptown Funk" can make people at a funeral get up and dance, there's no question that there are little bits of various other songs in there, and lawsuits have caused changes to the record's credits and royalty fees in recognition of the track's sources.
The list goes on and on. These are all examples of one well-known party suing another, and that's definitely a frequent scenario. However, copyrights also protect unknown songwriters from plagiarism in those rare cases when a songwriter can actually afford to hire counsel to press for restitution. It's therefore pretty weak protection to start with.
Full disclosure: I'm an unknown songwriter.
Why this happens so much
Image source: Eamonn McCabe/Popperfoto/Getty
Creativity — in whatever area — involves a re-synthesis of an artist's influences into something new. All of the songs a songwriter has heard are the ingredients from which new songs are made. Songwriters are usually avid, if not rabid, music fans. The re-synthesis is typically unconscious, and in court defendants are often found guilty of "unconscious plagiarism."
Clearly a fine balance must be struck in assessing plagiarism. A songwriter must be free to mash together and rework everything they've heard, just so long as they're not seen to be simply reusing someone else's composition. Accidents will happen, as will outright theft.
If it wasn't already crushingly hard for a financially struggling artist to derive any compensation for their creations, maybe what Rubin and Riehl have done wouldn't be so outrageous and offensive. However, the two have decided — on their own — to deprive every single songwriter with a U.S. copyright of the one meager tool they have to address being plagiarized by others, just because they decided to do so.
How serious a threat their project poses is unclear. Not only are Rubin and Riehl implicitly claiming ownership for all song melodies yet to be written — which is likely to be contested —they're also claiming it for every song that exists — which definitely will come as an unwelcome surprise to the actual composers. (And more attention for Rubin and Riehl.)
Who really owns a song?
Rubin and Rielh's database is aimed squarely at Western music and U.S. copyrights. In this capitalist country, it's assumed that ownership confers financial rights. This isn't true everywhere around the world. Nonetheless, unless American society wants to provide for its songwriters some other way, financial reward remains their only possible compensation, and it's already almost impossibly difficult to acquire.
To be fair, not all Americans agree with the idea of song ownership. As legendary folk singer Woody Guthrie's once put it on a song's sheet music:
"This song is Copyrighted in U.S., under Seal of Copyright # 154085, for a period of 28 years, and anybody caught singin it without our permission, will be mighty good friends of ourn, cause we don't give a dern. "
Join Radiolab's Latif Nasser at 1pm ET on Monday as he chats with Malcolm Gladwell live on Big Think.
Astronomers find these five chapters to be a handy way of conceiving the universe's incredibly long lifespan.
- We're in the middle, or thereabouts, of the universe's Stelliferous era.
- If you think there's a lot going on out there now, the first era's drama makes things these days look pretty calm.
- Scientists attempt to understand the past and present by bringing together the last couple of centuries' major schools of thought.
The 5 eras of the universe<p>There are many ways to consider and discuss the past, present, and future of the universe, but one in particular has caught the fancy of many astronomers. First published in 1999 in their book <a href="https://amzn.to/2wFQLiL" target="_blank"><em>The Five Ages of the Universe: Inside the Physics of Eternity</em></a>, <a href="https://en.wikipedia.org/wiki/Fred_Adams" target="_blank">Fred Adams</a> and <a href="https://en.wikipedia.org/wiki/Gregory_P._Laughlin" target="_blank">Gregory Laughlin</a> divided the universe's life story into five eras:</p><ul><li>Primordial era</li><li>Stellferous era</li><li>Degenerate era</li><li>Black Hole Era</li><li>Dark era</li></ul><p>The book was last updated according to current scientific understandings in 2013.</p><p>It's worth noting that not everyone is a subscriber to the book's structure. Popular astrophysics writer <a href="https://www.forbes.com/sites/ethansiegel/#30921c93683e" target="_blank">Ethan C. Siegel</a>, for example, published an article on <a href="https://www.forbes.com/sites/startswithabang/2019/07/26/we-have-already-entered-the-sixth-and-final-era-of-our-universe/#7072d52d4e5d" target="_blank"><em>Medium</em></a> last June called "We Have Already Entered The Sixth And Final Era Of Our Universe." Nonetheless, many astronomers find the quintet a useful way of discuss such an extraordinarily vast amount of time.</p>
The Primordial era<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMjkwMTEyMi9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYyNjEzMjY1OX0.PRpvAoa99qwsDNprDme9tBWDim6mS7Mjx6IwF60fSN8/img.jpg?width=980" id="db4eb" class="rm-shortcode" data-rm-shortcode-id="0e568b0cc12ed624bb8d7e5ff45882bd" data-rm-shortcode-name="rebelmouse-image" />
Image source: Sagittarius Production/Shutterstock<p> This is where the universe begins, though what came before it and where it came from are certainly still up for discussion. It begins at the Big Bang about 13.8 billion years ago. </p><p> For the first little, and we mean <em>very</em> little, bit of time, spacetime and the laws of physics are thought not yet to have existed. That weird, unknowable interval is the <a href="https://www.universeadventure.org/eras/era1-plankepoch.htm" target="_blank">Planck Epoch</a> that lasted for 10<sup>-44</sup> seconds, or 10 million of a trillion of a trillion of a trillionth of a second. Much of what we currently believe about the Planck Epoch eras is theoretical, based largely on a hybrid of general-relativity and quantum theories called quantum gravity. And it's all subject to revision. </p><p> That having been said, within a second after the Big Bang finished Big Banging, inflation began, a sudden ballooning of the universe into 100 trillion trillion times its original size. </p><p> Within minutes, the plasma began cooling, and subatomic particles began to form and stick together. In the 20 minutes after the Big Bang, atoms started forming in the super-hot, fusion-fired universe. Cooling proceeded apace, leaving us with a universe containing mostly 75% hydrogen and 25% helium, similar to that we see in the Sun today. Electrons gobbled up photons, leaving the universe opaque. </p><p> About 380,000 years after the Big Bang, the universe had cooled enough that the first stable atoms capable of surviving began forming. With electrons thus occupied in atoms, photons were released as the background glow that astronomers detect today as cosmic background radiation. </p><p> Inflation is believed to have happened due to the remarkable overall consistency astronomers measure in cosmic background radiation. Astronomer <a href="https://www.youtube.com/watch?v=IGCVTSQw7WU" target="_blank">Phil Plait</a> suggests that inflation was like pulling on a bedsheet, suddenly pulling the universe's energy smooth. The smaller irregularities that survived eventually enlarged, pooling in denser areas of energy that served as seeds for star formation—their gravity pulled in dark matter and matter that eventually coalesced into the first stars. </p>
The Stelliferous era<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMjkwMTEzNy9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYxMjA0OTcwMn0.GVCCFbBSsPdA1kciHivFfWlegOfKfXUfEtFKEF3otQg/img.jpg?width=980" id="bc650" class="rm-shortcode" data-rm-shortcode-id="c8f86bf160ecdea6b330f818447393cd" data-rm-shortcode-name="rebelmouse-image" />
Image source: Casey Horner/unsplash<p>The era we know, the age of stars, in which most matter existing in the universe takes the form of stars and galaxies during this active period. </p><p>A star is formed when a gas pocket becomes denser and denser until it, and matter nearby, collapse in on itself, producing enough heat to trigger nuclear fusion in its core, the source of most of the universe's energy now. The first stars were immense, eventually exploding as supernovas, forming many more, smaller stars. These coalesced, thanks to gravity, into galaxies.</p><p>One axiom of the Stelliferous era is that the bigger the star, the more quickly it burns through its energy, and then dies, typically in just a couple of million years. Smaller stars that consume energy more slowly stay active longer. In any event, stars — and galaxies — are coming and going all the time in this era, burning out and colliding.</p><p>Scientists predict that our Milky Way galaxy, for example, will crash into and combine with the neighboring Andromeda galaxy in about 4 billion years to form a new one astronomers are calling the Milkomeda galaxy.</p><p>Our solar system may actually survive that merger, amazingly, but don't get too complacent. About a billion years later, the Sun will start running out of hydrogen and begin enlarging into its red giant phase, eventually subsuming Earth and its companions, before shrining down to a white dwarf star.</p>
The Degenerate era<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMjkwMTE1MS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYxNTk3NDQyN30.gy4__ALBQrdbdm-byW5gQoaGNvFTuxP5KLYxEMBImNc/img.jpg?width=980" id="77f72" class="rm-shortcode" data-rm-shortcode-id="08bb56ea9fde2cee02d63ed472d79ca3" data-rm-shortcode-name="rebelmouse-image" />
Image source: Diego Barucco/Shutterstock/Big Think<p>Next up is the Degenerate era, which will begin about 1 quintillion years after the Big Bang, and last until 1 duodecillion after it. This is the period during which the remains of stars we see today will dominate the universe. Were we to look up — we'll assuredly be outta here long before then — we'd see a much darker sky with just a handful of dim pinpoints of light remaining: <a href="https://earthsky.org/space/evaporating-giant-exoplanet-white-dwarf-star" target="_blank">white dwarfs</a>, <a href="https://earthsky.org/space/new-observations-where-stars-end-and-brown-dwarfs-begin" target="_blank">brown dwarfs</a>, and <a href="https://earthsky.org/astronomy-essentials/definition-what-is-a-neutron-star" target="_blank">neutron stars</a>. These"degenerate stars" are much cooler and less light-emitting than what we see up there now. Occasionally, star corpses will pair off into orbital death spirals that result in a brief flash of energy as they collide, and their combined mass may become low-wattage stars that will last for a little while in cosmic-timescale terms. But mostly the skies will be be bereft of light in the visible spectrum.</p><p>During this era, small brown dwarfs will wind up holding most of the available hydrogen, and black holes will grow and grow and grow, fed on stellar remains. With so little hydrogen around for the formation of new stars, the universe will grow duller and duller, colder and colder.</p><p>And then the protons, having been around since the beginning of the universe will start dying off, dissolving matter, leaving behind a universe of subatomic particles, unclaimed radiation…and black holes.</p>
The Black Hole era<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMjkwMTE2MS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYzMjE0OTQ2MX0.ifwOQJgU0uItiSRg9z8IxFD9jmfXlfrw6Jc1y-22FuQ/img.jpg?width=980" id="103ea" class="rm-shortcode" data-rm-shortcode-id="f0e6a71dacf95ee780dd7a1eadde288d" data-rm-shortcode-name="rebelmouse-image" />
Image source: Vadim Sadovski/Shutterstock/Big Think<p> For a considerable length of time, black holes will dominate the universe, pulling in what mass and energy still remain. </p><p> Eventually, though, black holes evaporate, albeit super-slowly, leaking small bits of their contents as they do. Plait estimates that a small black hole 50 times the mass of the sun would take about 10<sup>68</sup> years to dissipate. A massive one? A 1 followed by 92 zeros. </p><p> When a black hole finally drips to its last drop, a small pop of light occurs letting out some of the only remaining energy in the universe. At that point, at 10<sup>92</sup>, the universe will be pretty much history, containing only low-energy, very weak subatomic particles and photons. </p>
The Dark Era<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMjkwMTE5NC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY0Mzg5OTEyMH0.AwiPRGJlGIcQjjSoRLi6V3g5klRYtxQJIpHFgZdZkuo/img.jpg?width=980" id="60c77" class="rm-shortcode" data-rm-shortcode-id="7a857fb7f0d85cf4a248dbb3350a6e1c" data-rm-shortcode-name="rebelmouse-image" />
Image source: Big Think<p>We can sum this up pretty easily. Lights out. Forever.</p>
Innovators don't ignore risk; they are just better able to analyze it in uncertain situations.
Remarkable 'fan art' commemorates 50th anniversary of legendary guitar player's passing.
- Legendary rock guitarist Jimi Hendrix died exactly 50 years ago today.
- From September 1966 to his death, he performed over 450 times.
- This spectacular 'gigograph' shows the geographic dimension of his short but busy career.
Last night at the Samarkand<video controls id="3f8a7" width="100%" class="rm-shortcode" data-rm-shortcode-id="5cd31bc25fbed5fd4fbc5905d44527e8" expand="1" feedbacks="true" mime_type="video/mp4" shortcode_id="1600450310811" url="https://roar-assets-auto.rbl.ms/runner%2F19636-JimiHendrix_LivePerformances.mp4" videoControls="true"> <source src="https://roar-assets-auto.rbl.ms/runner%2F19636-JimiHendrix_LivePerformances.mp4" type="video/mp4"> Your browser does not support the video tag. </video><p>On September 17, 1970, Jimi Hendrix awoke at the Samarkand Hotel in Notting Hill, London, in the basement flat where his German girlfriend Monika Dannemann was staying. At around 2 p.m., they had tea in the hotel's garden and Monika took some snaps of Jimi with 'Black Beauty,' his favorite Fender Stratocaster guitar. Those were the last pictures ever taken of him. </p><p><span></span>Later in the afternoon, the couple went out – visiting local hipness hotspot <a href="https://en.wikipedia.org/wiki/Kensington_Market,_London" target="_blank">Kensington Market</a>, an antiques market in Chelsea and Jimi's suite at the Cumberland Hotel, near Marble Arch. They had tea and wine at a friend's flat, argued and made up, and went back to the Samarkand Hotel, where they had a late meal, drank a bottle of wine and Jimi wrote a poem titled 'The Story of Life.'</p><p>Well after midnight, Hendrix went to a party, where he took some amphetamine. Dannemann showed up at the party, and around 3 a.m. the couple returned to the Samarkand. Unable to sleep, Jimi took nine of Monika's sleeping pills (the recommended dose was half a pill). When she awoke that morning, she found him unresponsive and covered in vomit. Around noon of the 18th of September – exactly 50 years ago today – Jimi Hendrix was pronounced dead.</p><p>The last stanza of the poem he wrote the night before reads:</p><p style="margin-left: 20px;"><em>The story of life is quicker than the wink of an eye.</em></p><p style="margin-left: 20px;"><em>The story of love is hello and goodbye.</em></p><p style="margin-left: 20px;"><em>Until we meet again.</em></p><p>Amid the initial confusion surrounding his death, the poem was mistaken by some for a suicide note. Several subsequent investigations have provided nothing but indications of an accidental death. <br></p>
Immortalised in the '27 Club'<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDQyNDQ3NC9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTYxMDU1NjcxNX0.27c7ESrA2OnXExGCsigfs5jOVoAAAR-M9pn3sIFRZdA/img.png?width=980" id="b5894" class="rm-shortcode" data-rm-shortcode-id="6979d0862296c37bddbf9ea081cd3171" data-rm-shortcode-name="rebelmouse-image" alt="\u200bJimi Hendrix performing for the Dutch TV show 'Hoepla' on 11 June 1967." />
Jimi Hendrix performing for the Dutch TV show 'Hoepla' on 11 June 1967.
Credit: A. Vente, CC BY-SA 3.0<p>Arguably the<a href="https://www.youtube.com/watch?v=cJunCsrhJjg&ab_cha..." target="_blank"> greatest guitarist in rock history</a>, Hendrix was one of the first modern members of the '27 Club' – musicians immortalised mid-fame, dead at the still-tender age of 27. Earlier members include Robert Johnson (d. 1938) and Brian Jones (d. 1969), later ones Janis Joplin (who died two weeks after Hendrix), Jim Morrison (d. 1971), Kurt Cobain (d. 1994) and Amy Winehouse (d. 2011).</p><p>In the States, Hendrix had made a name for himself as a band guitarist, playing for both Little Richard and Ike Turner. Not an undividedly positive name: he got fired from both of those bands. His own career – as a solo artist, and as the leader of the Jimi Hendrix Experience – only took off when he moved to London. <br></p><p>The graph above connects over 450 dots, one for each gig he played. It shows the amount of hard work Hendrix put into his career, and how it paid off – after criss-crossing Northwestern Europe, but mainly England, his fame hops back across the Atlantic and becomes transcontinental. A few samples from his <a href="https://concerts.fandom.com/wiki/Jimi_Hendrix" target="_blank">gig database</a>:</p>
London first, London last<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDQyNDQ4My9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYzMDQ4MTg5Nn0.ST2r7qyiI9CELqKP0-CpoV7YIWioAEQBXscq9mJVESM/img.jpg?width=980" id="86886" class="rm-shortcode" data-rm-shortcode-id="0d79abc719416b4068456e6938fcd776" data-rm-shortcode-name="rebelmouse-image" alt="The Jimi Hendrix Experience in 1968, with Jimi, bass player Noel Redding (right) and drummer Mitch Mitchell (on the floor)." />
The Jimi Hendrix Experience in 1968, with Jimi, bass player Noel Redding (right) and drummer Mitch Mitchell (on the floor).
Credit: public domain<ul><li>24 September 1966: first solo performance in London, at Scotch of St James.</li><li>13 October 1966: first concert of the Jimi Hendrix Experience, supporting Johnny Halliday in Évreux, France.</li><li>18 January 1967: performing 'Hey Joe' on 'Top of the Pops', at the BBC TV's Lime Grove Studios in London.</li><li>18 June 1967: first stateside gig, at the <a href="https://www.youtube.com/watch?v=fe82eYRjiBU&ab_cha..." target="_blank">Monterey International Pop Festival</a> in California.</li><li>3 July 1967: first East Coast show, at the Scene Club in NYC.</li><li>9 October 1967: L'Olympia, Paris.</li><li>14 November 1967: at the Royal Albert Hall in London; first gig of package tour with Pink Floyd, The Nice and others.</li><li>31 December 1967: at the Speakeasy in London. Jimi plays a 30-minute rendition of <em>Auld Lang Syne</em>.</li><li>12 March 1968: jam session with Jim Morrison, Buddy Miles and others at The Scene in NYC.</li><li>22 June 1968: at The Scene in NYC, Jimi jams with the original lineup of the Jeff Beck Group, which also includes Rod Stewart and Ron Wood.</li><li>14 September 1968: Hollywood Bowl, Los Angeles.</li><li>23 January 1969: two shows at the <em>Sportpalast</em> in Berlin, Germany.</li><li>18 May 1969: Madison Square Garden, NYC.</li><li>29 June 1969: Mile High Stadium, Denver – the last performance of the Jimi Hendrix Experience.</li><li>17 August 1969: <a href="https://www.youtube.com/watch?v=MwIymq0iTsw&t=14s&..." target="_blank">Woodstock</a>, New York.</li><li>30 August 1970: Isle of Wight Festival, England.</li><li>16 September 1970: jam with Eric Burdon's new band War at Ronnie Scott's in Soho, London. Jimi's last public performance.</li></ul><p>This bit of 'fan art' was created by Owen Powell, who points out that "it's not an academic study of Jimi Hendrix's movements, more a visualisation of the data mapped in sequential order." So if he flew home between gigs, that's not recorded here. <br></p><p><em>The Jimi Hendrix 'gigograph' reproduced with kind permission from Mr Powell. Check out his <a href="https://twitter.com/owenjpowell" target="_blank">twitter</a> and his <a href="https://owenpowell.wordpress.com/" target="_blank">website</a>.</em></p><p><strong>Strange Maps #1048</strong></p><p><strong></strong><em>Got a strange map? Let me know at </em><a href="mailto:firstname.lastname@example.org" style="">email@example.com</a>.<br></p>
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