212909694314071
top of page
Search

Are Some DJs A Front For AI To Be Replaced By Robots? The Past,Present,Future Of The DJ |By Anthony

Updated: Apr 9, 2023

Being well aware of the sensitivity and the great divide on what a real DJ is, with many relying on AI to do their work, this is a topic I have been eager to discuss. However, I wanted to take my time to explain my thesis due to the sensitivity surrounding the ethics of false DJs who rely completely on AI to perform.

The debate over the ethics of AI integration into the Mainstream DJing industry has raged for years now, with no clear consensus emerging. Webster's Dictionary merely defines the title as “one who plays recorded music for dancing.” But there is much more to these talented individuals. Is the essence of a Mainstream DJ being lost in the midst of an over-saturated market?

In this discussion, we will explore the past, present, and future of the DJ genre: who are they, where did they originate from, what makes a real performing DJ, which industry leaders are making their mark, just how high (and how low) is the bar getting & how easy is it to fraud your way into an industry and mock an entire culture, but are the imposter DJs' days numbered?

I will present my theory that currently there are two distinct types of DJs, the third is coming, witch

will lead back with just two remaining: The Organic DJ, The Hybrid DJ and lastly, the ongoing development of The Robot DJ. Ultimately, these three categories will consolidate and only two forms of DJs will remain. There will be no grey area or overlap between the two remaining in the performing DJ form.

Lets take a brief glimpse into The Past, Present, & Future Of The Dance floors & airwaves. Join me in celebrating the great conductors of old and hailing the up-and-coming robots of today.

The DJ has been part of the music industry since the 1950s and has evolved into a popular form of musical entertainment found in nightclubs, bars, and festivals. DJs blend together different music genres to create unique sounds, making them true innovators of the music industry. To understand DJing, one must look back to its origins.

The term 'disc jockey' was coined by Walter Winchell in 1935 when he described Martin Block's radio show. With people glued to the radio during the Lindbergh Jr. kidnapping trial, Block decided to play records to fill the airtime, making it seem like a live show. This became a success for its entertainment and cost-effectiveness, revolutionizing radio.


In 1943, radio DJ Jimmy Savile threw the first dance party by playing jazz records in a function room of the Loyal Order of Ancient Shepherds in Otley, England. Four years later, he claims to have been the initiator of using two turntables for continuous play. However, his claim is not true as these turntables were advertised in Gramophone magazine back in 1931. In 1958,

He had been well known in the United Kingdom for his eccentric image and was generally respected for his charitable work, which associated him with the British monarchy and other individuals of personal power, however It emerged in late 2012 that Jimmy Savile, an English media personality , sexually abused hundreds of people throughout his life, most of them children but some as old as 75, and most of them female.

The year was 1947 when the Whiskey a Go-Go, the world’s first discotheque, opened in Paris. One of its DJs was Regine Zylberberg, who christened herself “Queen of the Night”.Soon after, discos began to appear throughout Europe and the US., Regine — who laid claim to inventing the modern discotheque

By the 1950s, American radio DJs began to appear at parties - they acted as human jukeboxes by playing popular singles while chatting in between tracks at events called Sock-Hops.

These Sock hops originated in 1944 to raise funds during WWII and became popular among teens in 1948. They were held in school gyms and cafeterias, where dancers had to remove their shoes to protect the floor . The music was usually vinyl records played by "The DJ", but sometimes there were live bands. 'At the Hop' became strongly associated with 1950s rock and roll.


In the 1950s, DJs loaded up trucks with a generator, turntables, and huge speakers to start street parties in Kingston. Tom the Great Sebastian, founded by Chinese-Jamaican businessman Tom Wong, was the first commercially successful sound system. Initially playing American rhythm and blues music, the sound eventually shifted to a local flavor.

The clash between rival sound systems was intense, eventually giving rise to two names that shone above the rest: Clement "Coxsone" Dodd, and Duke Reid. As well as the DJ, who rapped and sang over the music, there was a selector, who chose the music/rhythm tracks.

This would have been in rotation of the selector at the time who was toasting.


In the 60s, pirate radio stations emerged to meet the demand for rock music. Radio Caroline was a great flick to check out loosely based off the actual station and its founder, Ronan O'Rahilly. The British government had previously regulated to only the British Broadcasting Corporation. But by the 1960s, millions of teenagers wanted to hear rock 'n' roll records that the BBC didn't play, so pirate radio stations filled the void.

Then Enters Ronan O'Rahilly who discovered the U.K. government's jurisdiction ended 3 miles off the coast, allowing stations from other countries to exploit the loophole by setting up transmitters on offshore ships. Pirate radio is still popular today and Radio Caroline is now legal.

This was the first song to hit the pirate airwaves played by Tony Blackburn, broadcasting off “the Boat That Rocked” Radio Caroline


The '70s NYC Disco Scene was a permanent stamp on the timeline of music. Its sound represented freedom and a community that accepted those already rejected by the city's harsh environment. Apartments, parking facilities, and bars became clubs for devotees.

The 1970s were a glorious time in NYC. It was a golden era, known for its wild underground parties and all-night discos. Low rent prices allowed the artsy crowd to overtake downtown Manhattan and all its venues. Technicolor outfits were all the rage—bellbottom pants, feathered boas, scarves, fur coats, ruffled shirts, thongs, and velvet vests. The rules were off, and young people reveled in the newly discovered sense of freedom, but The DJ Was Paramount.


A pillar of hedonism and debauchery, Studio 54, was one of the most renown clubs of the disco scene. Opened in 1977 at the height of disco by Steve Rubell and Ian Schrager, the club quickly became the go to destination for A-list celebrities and hopeful punters alike.

In 1976 Siano became one of Studio 54's first two resident DJs, along with Richie Kaczor. However, Siano was fired after 6 months when his drug habit impeded his performance on the turntables. Siano continued as the Gallery's owner and headlining DJ until 1977, when again, his drug problems overtook him, and Joe, his brother and business partner, closed the Gallery for good/Siano is considered to have pioneered the use of the "crossover" and was also the first DJ to use 2 and 3 turntables to create a nonstop flow of music throughout the night.

Additionally, he was becoming famous for his ability to "break" records; that is, get a record to sell and skyrocket on the mainstream charts, based not on radio airplay, but on heavy rotation and popularity in the underground clubs. Siano's knowledge of sound and lighting systems helped the Gallery to become a model for how to design a club.

Studio 54 resident DJ and The Gallery founder,

Nicky Siano -played the first record below.


The Paradise Garage, also known as "the Garage" or the "Gay-rage" was an iconic New York City discotheque which had a major impact on the history of pop music, dance and LGBT culture. Starting out in 1977 as the 84 King Street Garage, it underwent renovations before its official opening as the Paradise Garage on the 28th of January 1978.

It was unique in that it focused primarily on dancing rather than conversation, and was one of the first clubs to place the DJ at the center of attention. Casual visitors were enticed by its booming sound system, said to be the best in the city at the time, and were also kept around by its extended opening hours.

Paradise Garage,held DJ Larry Levan as its resident

Larry Levan was the originator of the celebrity DJ. He was the first to show people around the world that DJing was more than just playing a track after another. From 1977 to 1987 he had a ten-year residency at the iconic Paradise Garage in New York, and his unique and masterful DJ sets of underground disco, funk-rock, dub, and synth-pop set him apart, while also hinting at the house music revolution. As if his mixing and adjusting of music records wasn't enough, his devoted followers would often find themselves in a state of pure joy.


I don’t think anybody ever can explain [the atmosphere of the Paradise Garage] exactly, it’s something you had to experience. It was just a freedom … an acceptance. There’s never been anything like it before or since. The vibe was so extraordinary. I have a song called Paradise Express, and the song says: “To catch this train you don’t need no cars / Cos the depot’s the Paradise Garage / Have nothing to worry, have nothing to fear / Cos your No 1 DJ’s your engineer.” Larry was the engineer, and everybody loved the way he engineered. When you have a real good engineer on a train it’s a smooth ride, and that was Larry Levan.

Taana Gardner: singer of several Paradise Garage hits mixed by Levan


The term "Garage Music" is said to have originated here (though it should not be confused with UK Garage). Its influence is still evident today, with the club cited as a major inspiration for the founding of London's Ministry of Sound.

One Of Many DJ Larry Levens Produced Tracks below


It was the year 1970 when David Mancuso found himself short on money to pay rent, so he decided to throw a party in his Manhattan loft apartment charging $2.50 on entry (with coat check, food and beverages as a given) and the rest was history.

David Mancuso hosted musical soirees on the second floor of his apartment, appropriately named the Loft. He provided an alternative to the typical commercial nightclubs of the city, creating an inclusive and progressive environment. His sound system was state-of-the-art, and his musical selection was eclectic. Guests of all backgrounds and sexual orientations were encouraged to come and dance, and the Loft served as a prototype for later LGBT and straight clubs.

The Loft became one of the most influential dance parties of the 1970’s and even outlined the ideology for Paradise Garage, with it’s exclusivity in invitations but inclusivity of sexuality and culture, audiophile quality sound system


"The crowd was a rich mix of classes, colors, and sexual tastes with two key things in common: they were hard-core dancers and they were utterly devoted to the Loft. Their high spirits preserved the Loft’s house party atmosphere and helped establish its reputation." Vince Aletti, Village Voice, 1975

Manusco rejected the DJ norm of beat matching and mixing, instead he would let records play from start to finish – “[At The Loft], even house records are played with intro and outro beats, and are sometimes eight, nine, 10, 11 minutes long,”


One of the tracks apparently in rotation at some of Mancuso parties

Above And beyond “Edgar Winter”


The origins of rap music can be traced to many centuries ago, when the griots of West Africa were singing tales of the past to their people in a rhythmic style. Caribbean folk artists also told stories in rhyme, which gave rise to today's hip hop culture.

DJs like Clive Campbell (better known as DJ Kool Herc) were vital to a party's success. At one particular party at 1520 Sedgwick Avenue, nothing was working until Herc created his own technique of cutting up the middle section of records and blending them together. It was an instant hit, and it remains popular today.

DJ Kool Herc, Grandmaster Flash and Grand Wizard Theodore are the three most important names in the history of deejaying. Herc discovered the breaks and Flash perfected them with the “quick mix theory”, a method of merging two records for a seamless transition. Theodore is also credited for his turntable wizardry.

Grand Wizard Theodore’s brother, Mene Gene, taught him how to DJ, and he was a student of Grandmaster Flash’s. He's often credited with inventing scratching; the story is that Theodore’s mother asked him to turn down the record’s volume, so he attempted to stop the track immediately by putting pressure on it with his hand. It made a scratching noise. Grandmaster Flash doesn’t agree with this account, though. He said, "I guess maybe me and Theodore have to sit down some day and figure this out." It's clear he had an influence on modern DJing, inspiring others to keep producing.

Grand Master Flash “Whit Lines”


The '70s were a time of transition for music, with disco fading and a new sound taking hold in the Chicago underground.

House music was born from DJs mixing disco with hip-hop and dance, and it spread to cities like New York and London. Producers like

Frankie Knuckles and Ron Hardy kept house alive in the '80s, with Knuckles earning the moniker "Godfather of House Music.Chicago was a hotbed of early house music, producing some of the most influential producers and DJs of the genre.Ron Hardy, Frankie Knuckles, Mr. Lee, Jesse Saunders, J.M. Silk (Jack Master Silk) Chip E., Farley , Marshall Jefferson, and Larry Heard (aka Mr. Fingers). Larry Levan also figured in early house music.

Music historians typically trace house music to a nightclub called the Warehouse, located in Chicago's West Loop neighborhood.

It was there Frankie Knuckles—sometimes called the "godfather of house”—created continuous dance grooves by splicing together records with a steady four-on-the-floor pulse and tempos ranging from 120 to 130 beats per minute. House tracks often use the Roland TR-808 and TR-909 drum machines; the term "house music" comes from the fact that these machines allowed DJs to create tracks at home without the use of an expensive studio.


DJ Frankie Knuckles was born in the Bronx on January 18, 1955, exposed to jazz music from his sister. He was a talented teen and studied visual arts and costume design. In 1971, his first gig came from Tee Scott, who greatly influenced his style. From 1972-1976, he and Larry Levan worked together at clubs. In 1983, he opened his own club, The Power Plant, near Cabrini Green housing projects.

After decades of spinning at clubs, Knuckles released his Warehouse classic “Let No Man Put Asunder” on Salsoul. It became a house classic, and he wrote “Your Love” for Jamie Principle. In 1986, he released “You Can't Hide,” then closed the Power Plant. He moved to NYC, playing the Roxy and Sound Factory, and established the Def Mix music production company with David Morales and Judy Weinstein in 1988.

In 1991, Knuckles became one of the first DJs to sign to a major label. In 1997, he became the first DJ to win a Grammy Award. His 2002 album was his first of original tracks, not a remix. Knuckles kicked off the Def Mix 15th Anniversary tour in 2003 and has remixed songs by Janet Jackson, Diana Ross, Luther Vandross, Chaka Khan, En Vogue, and Michael Jackson


One Of Frankie's Undeniable Originals That Set The Tone On Dancefloors Globally


Next,we spotted the power of house music jumping across the pond and into the hands of the Brits, inspiring them to create their own scene in the legendary club, The Hacienda.

DJ Marshal Jefferson recalls his experience of playing at The Hacienda in Manchester in 1987, remarking how magical the atmosphere was. “The venue opened in 1982 and gradually became a hub of England's house revolution. DJs like Mike Pickering were spinning the best sounds from cities like Detroit, New York and Chicago”

Peter Hook discusses the chaos, foolhardiness, and music of his club founding days with Joy Division and New Order.It all began with a trip to New York for the new-formed New Order. “ with Anthony H Wilson Low on funds, the new owners of an Oxford Road property originally planned to give it a lick of paint. But Tony Wilson had bigger plans for the venue, which he named The Hacienda after Ivan Chtcheglov's quote. When Kelly heard the name, he was horrified, but eventually saw the brilliance in it.

Mike Pickering and Graeme Park began spinning Chicago House and Detroit Techno at the Hacienda nightclub to bring it back from hard times. NUDE became the place to be,but the lack of sales of beer due to ecstasy use and the appearance of drug dealers were

a major problem.

The Hacienda and Factory Records have a captivating story—heroes and villains, and an art-for-art's-sake motive that cost money, structure, and sanity. But its legacy is even bigger—transforming Manchester, introducing house and techno to the UK, and inspiring design to this day.

Unfortunately, due to financial and criminal issues, The Hacienda shut down in 1997 and was deconstructed into flats. As part of my ongoing research into The Hacienda, I have stumbled upon a well-made documentary featuring the DJs, owners, and patrons that were involved with it. Welcome to The Hacienda.


23 Hop The Birthplace Of The Rave Generation For Canada, with some recognising as"In North America" (Vice magazines) Benjamin Boles

Before the arrival of Exodus, there had been other promoters and party hosts at that specific location, it turned out they had been the lights running until The Exodus arrival, that set the stage for things top come.

The birth of underground rave culture in Toronto boomed from the arrival of three Glaswegian expats to the city: Anthony D, Mark Oliver and John Angus. It was these three who found a small, beaten-up warehouse, 23 Hop, situated on the lower West Side at 318 Richmond Street. It quickly became a sacred gathering place, packed with revelers each week,with the organisers putting music at the for front ,handing it over to the DJ's, and the message was received via the ones in attendance hungry to experience the sounds of Sean L from Liverpool, Malik X and Doctor No - the Booming System Collective.

The four DJ's that played at the event came from different parts of the UK, ensuring a steady supply of different, unheard House and Techno tunes. This played a major role in giving shape and spirit to the atmosphere, there was definitely a feeling in the air that was palpable. The vibe was tangible.It was the energy of this newfound movement that dripped off the warehouse walls, giving Toronto the lifeline it needed to ignite its own rave culture. Hosted and promoted by Anthony and John, with Mark Oliver (Toronto's Club Resident DJ Ambassador) as music director, 23 Hop was a special place, and it's presence in Toronto will never be forgotten..

The timing was perfect for Toronto; there was nothing quite like it, creating an exclusive safe space for all black, white, LGBTQ+, and club-goers from all backgrounds and walks of life. It was a hedonistic alternative dance culture lifestyle unheard of before in the city, hosting the likes of neutral gender open washroom facilities 30 years prior, and set the stage as a template for generations of house music clubs and events to follow, that still take place to this day



Hip-hop, house music, and rave culture have all been popularized in the past few decades, but the debate over what defines a 'real' DJ rages on. DJs have inspired new generations of musicians, and technology and streaming services are making them more popular. While the future looks bright for true DJs, imposters may be left behind. No doubt there are numerous motivations behind people impersonating DJs, such as fame, notoriety, popularity, and of course, the large payouts. Here is a revealing look at who is making what at the top of the mainstream music industry

(please note that earning a spot in the mainstream scene does not reflect a DJ's talent or skill level, I will outline this_)

#1. Calvin Harris (Net worth: $300M)

Calvin Harris is the richest DJ in the world right now. Scottish DJ and musician specializing in singing, songwriting, as well as producing.

He has a total of 118 award nominations under his best. He had been the highest-paid DJ in the globe for six consecutive years from 2013 to 2018.

#2. DJ Tiësto (Net worth: $170M)

The Dutch DJ and record producer is actually from Breda, Netherlands. has become a part of The Greatest DJ of All Time of Mix Magazine.ds.

#3. Steve Aoki NET (120 MILLION)

He is a renowned DJ, music executive, record producer, and entertainer.. His earning can go up to $500,000 a night.

#4. David Guetta

(85 Million Annually)

.He is a household name across the world. He was named the no. 1 DJ in the globe by over 1.3 million people. sold over 30 million singles and 9 million albums appointed as the music ambassador for the UEFA Euro in 2016.


Is a large percentage of the industry just a front for AI? | The fundamental skills needed to be taken seriously, to be recognized as a real DJ, must include understanding the fake DJ

I was a radio broadcasting student at Seneca York and had a conversation with a fellow student about music. When she mentioned she was a DJ,

I had met a great fellow alumni gal that mentioned she was a DJ, I thought, cool. must into music ,great vibes and peer for the two years of study .

I asked her what her record library was like, to which she said

"they were all files",

thinking to myself, cool, not everyone has a vinyl collection, especially a post internet generation, understandably.

In my opinion, "It doesn't matter what technology is involved or the format used. As technology advances, DJs should embrace it in order to keep up to provide their listeners with the best audio experience. We're not here to debate formats and devices, but to question what really constitutes a live performance by a DJ" (-Anthony)

I asked what online music services, providers, or labels she used to buy tracks, responding,

"she never pays for music files; instead, gets them from other groups through file sharing and what not and gets trending, genre-specific tracks suggested"

(Meaning AI is actually curating and feeding her the music )


She was talking about how her DJ profile had a big following on social media with her sets. Still, I found it hard to take her seriously as an actual performing DJ, more as a music lover. Let's face it: not paying for the music means that the artists and content in the sets (chosen by AI) don't get their royalties, but she gets popularized while still making money. These selfish acts of stealing music and gaining false notoriety as a DJ are some of the most common factors in mainstream EDM performances, which is devaluing what it means to be a real DJ and diminishing the credibility of the industry.

So with my faith slowly dwindling , I asked her if she enjoyed mixing and the track transitioning process, responding

" she doesn't really have to, she uses the Zulu program, which does it all for her"

. With my curious nature, I had to ask how it worked, and filling me in that

"the software can do a cross-fade between tracks executing the beat matching factor,The the Sync button will match your track's bpm, making smooth transitions really easy as well as an auto-play mode for hands-free and seamless music mixing

So in reality this is someone that burns stolen files, loads them into a mixing program, handing it over to let AI take the wheels of steel, now as this is playing out, does the “what is the DJ doing at this specific point” ? not raise all questions as to their title?

To address the ethical issues of what defines a “performing DJ” head-on, AI should only be used as a tool for music lovers or aspiring DJ’S at the most, rather than a replacement for them when it comes to the art of live DJ performance. This means using AI as an additional layer of production if needed in order to expand their creative capabilities rather than relying solely on AI choosing the numbers, computer algorithms, beat matching ,syncing, mixing and pre-programing.


This is an issue that continues to spark debates and disagreements. To become a successful live performing DJ, one should focus on building credibility based on their own talent and skill set instead of relying on technology and artificial intelligence. This requires mastering the fundamentals so you can be in control - as the leader of the show. Thus, when Hybrid DJs rely completely on AI for their performance, they are showing that they don't possess any special or unique talents. If they allow the AI software to do all the work, this eliminates any recognition or classification of them as a Live Performing DJ. This has no reflection or relates to talented DJs who use the software for performing “ without all the automation tools” in this category.

It's like buying a hockey stick and giving it to Wayne Gretzky to score all the goals, and then taking credit for them? Wrong! Artificial Intelligence is the real MVP here"(Anthony)

To illustrate this further..


I recently had a conversation with Gene King, a well-known DJ and artist in the Toronto and Montreal house music community

.We were discussing live streaming video shows, and I asked him why DJs feel the need to constantly fiddle with knobs and press buttons on their EQ when there isn't any sound coming out, no effect and in some cases ,not even touching them.


His response shed some light on my query.He stated that current events and video streams make DJing more of a visual art now.

With multiple cameras and eyes trained on the DJ, they can feel more pressure to create an entertaining show, even if the moves are unnecessary and meaningless therefore DJs must perform in a way that pleases their audience.

This gives credence to my own theory—sometimes these false acts and behaviors are ultimately enabled by the audience themselves. (Anthony)


According to Sheldon Drake with The Cooper Union for Advancement of Science and Art

Many commercial DJs, the set is entirely preprogrammed, so the lighting/visuals team can choreograph everything together. They do take the time in studio to make everything perfect, but, other than a little jerking around with effects or EQ, there is zero spontaneity:


One woman went deep undercover to see if she could fool the world into thinking she was a DJ.Reaching a level of skepticism about DJ culture and EDM nightlife, Nadja Brenneisen ventured to prove the notion if anyone could really call themselves a DJ. She documented her experiment with her talent buyer buddy Tobias.

I FOOLED THE WORLD INTO THINKING I WAS A SUCCESSFUL EDM DJ—FOR AN ART PROJECT

(Nadja Brenneisen)

Two years ago, I was completely over the clubbing scene. After starting out as a promoter, it didn't take long before I started to detest this drug-fueled world where everything is superficial and gender roles are skewed. On top of that, I found the endless parade of DJs arrogant in their belief that they were real musicians and artists; their attitudes betraying the avant-garde beginnings of the music they spun.

I was disgusted by DJs who contributed to the commercialization of their own music. Those paid to play pre-recorded sets and throw cakes in clubs, while the masses scream for entertainment and predictable drops. The content and culture have become irrelevant; it's all about mass entertainment.

I wondered if a DJ nowadays was just a puppet with no technical skills, and so together with Tobias, I decided to become an EDM DJ. It worked.

Tobias and I needed contacts, skill, and clever marketing for success. After a crash course, I knew how to mix songs together. We decided two women would be better than one and found our second quickly. A logo, Facebook page, and professional photos were made and in May we had our first performance. We wanted the performance to be believable but clichéd and tacky.


PLAY TUNES THAT EVERY ONE KNOWS

Tobias and I had a successful first gig, playing the most popular hits from Tomorrowland. We were quickly booked and adored by our audience, but some DJs questioned our "realness." Every show we played with our copied Tomorrowland set was met with joy.


LIVE THE CLICHE

I had a blast DJing at Klangkarussell New Year's party with the manager and another request from another DJ. I was paid $2976 and found myself backstage listening to drug-addled conversations, realizing that success can bring out negative emotions. People accepted

my skills and I rose in market value, playing 8-10 gigs a month while studying full time. But I eventually forgot why we started the "art project" in the first place.


GET A GHOST PRODUCER

My technical abilities improved, and I tasted the addictive qualities of music. I stopped playing pre-recorded sets, studying Music Production long distance. Tobias and I knew to move forward we must produce our own tracks. The EDM audience wanted songs they knew, but for success, a few original tracks were needed. Despite my degree, we got a ghost producer as I was still a beginner in production

I got a dream job offer in journalism,

and had to choose between it and continuing as a DJ. Our "art project" had proved the point we set out to make, but I feared becoming more like my DJ persona. Though I respected

DJs who saw themselves as musicians, not entertainers, they were rarely found at commercial festivals. Electro was made radio-friendly for profit, which took away from its innovative spirit. }}}

I had to accept that my job as a DJ was confined to the parameters of this commercial music industry. However, I knew that what I did still had some degree of authenticity. Understanding that cake-throwing and other acts were no more genuine, I felt compelled to make an honorable exit from my career in order to let true musicians with passion be able to move and reach the audience.


Black Donnelly Media is here to grant you a behind-the-scenes look at the red herring imposters digressing even lower than relying on AI, but acting ,essentially hustling a live set exhibition using the same slight of hand tactics as tinker hustling snake oil in a travelling show, at the heart of the Mainstream dance world.


We are seeing more and more box outlets, pharmacies, and grocery stores replacing their staff with AI-driven checkouts as people become increasingly used to this technology. This will lead to a decrease in human employment - it's no longer an issue of "if," but rather "when." We can already observe the effects of this shift in the realm of mainstream DJs.

Does this mean there won't be any human DJ performers? It's important to note that I am referring to "mainstream DJs" here; the Hybrid AI Fronts,

I believe the organic DJs may find themselves with even greater opportunities than before. This transition is influencing many industries, music, arts & entertainment are no exception to the rule, let me explain further:

In 2016, “Daddy’s Car” was the first example of a song generated by AI - Sony researchers used the technology to analyse a catalogue of 13,000 songs and write a track reminiscent of The Beatles. The melodies were written by the program although in the future there may be an algorithm that can create something even more advanced than humans can. This could be something that captures the essence of a genre, like techno or house, and produces something new and unique that is actually more lifelike than human creations.

AI is changing the way music is created and listened to. From composition apps to personalized playlists, AI is aiding humans in the creative process. It relies on human input for data and evaluation purposes, but can still solve tasks. Philosophically, though,

AI lacks free will and consciousness.


AI Computer generated song made by using multiple songs by Jimi Hendrix.

,

Taryn Southern launched her album with the significant name

“I am AI,” which was composed and produced with no less than four AI music programs:

The potential for AI to be used in creating new music, combining different sounds, and even constructing robotic performers is without bounds. The boundaries only exist within the confines of coding or human input. It can also generate lyrics with certain intended emotionality, engineer novel musical styles, and devise masterfully crafted compositions, Though fears exist, AI-powered music is unlikely to replace human musicians, mimic with data , yes , but those possibilities are also endless.


"The art world is a cutthroat business," lamented artist Alexander Nanitchkov in an Instagram post. "Current AI 'art' is created on the backs of hundreds of thousands of artists and photographers who made billions of images, only to have their work soullessly stolen by selfish people for profit without any sense of ethics."

People are concerned that the artists who created AI art are not consulted or compensated for their work. Digital artist @loisvb expressed this in a post, noting that platforms should prevent scraping of content for databases as these image generators cost money to use.

The question of whether art made by AI is "art" is still up for debate. Some

say art is inherently human, and thus must involve human creativity, intention, and expression to be considered true art. Others argue that AI-generated artwork can be beautiful, thought-provoking, and meaningful, making it a valid form of artistic expression in its own right.

Sow ho owns copyright for AI-generated art? This is a complex legal issue without a simple answer. Generally, copyright laws protect works of art created by humans, but the ownership rights for AI-produced art may vary depending on human involvement.


Coming from a background in radio with over 11 years of full-time experience on 4 different stations, I've worked as Music Director, Producer, Music Programmer and eventually Program Director while simultaneously being on the air.

Even before I started reading more about AI within music and arts, or had any interest in it, I could see primitive forms of AI either facilitating certain tasks or sending trends that would eventually evolve into something more. When I first read about AI potentially being used as radio hosts, I was skeptical, but if this technology is successfully implemented, I think a lot of broadcasting companies will jump on board quickly. Especially in smaller markets where remote programming is an issue, you'll always need to fill the day parts with real-time coverage around the transmitted radius of the community.

DJ Ronnie Robot may never know that Mary from the Trinity Curling Club just cracked a joke selling muffins for charity to raise funds for the women's upcoming Bonspiel , but someone needs to be on-air during that time of day in order to let Mary's joke air, and posses the ability to empathetically recognise Mary is telling a funny , and DJ Ronnie Robot better laugh, and talk about just how good Mary's muffins are, or face the talk of the Bonspiel and scenarios of this nature. Live day part radio requires that one thing AI could never harness , Human Empathy.