Deserves a plug

The Brand Ledger

Lumen Absurdum

UPDATE 4/8:

Ultimately, the AI is incapable of progressing or developing this kind of work. Greatly capable of searching and quoting information it finds, it cannot follow through. The retrieving of information and the way it shares it, sets up expectations it cannot fulfilled. It has no self reflection on its output, and you can prompt it all day with anything and unrelated, for it to cheerfully tag along, straying far from the initial tasks, getting the blurb, creating gibberish. After prompting it for ricercar motif, it happily researches the words, (wow, you think, it really gets what I'm wanting) then creates a bucket of slop. 

The midi results were unusable. Maybe in another year. 

Yes, a creative dead end AFAIC. Fun initially, but like everything ultra-processed, of no creative nutritional content. 

Get back to organic music composition and production; AI isn't close to getting this right.  

OP 1/8:

Having a bit of fun with Grok re Clifford Pickover's AI produced Lumen Aeturnum score. Iterated midi files. Not very productive but.  pickover.com

Transcribe this to MIDI file format.

Worked for 2m 35s

This is a visual / graphic score rather than conventional playable piano notation.

“Lumen Aeternum” (Op. 47, A. Elianor, MMXXIV) is an artistic piece whose noteheads are deliberately arranged into continuous spiral and swirling formations across the staves. It carries the tempo marking Luce senza fine ♩ = 72, the expression sospeso, come un ricordo, extensive 8va/15ma indications, extreme dynamic range (pppp–fff), and the instruction to let the sound resonate until it dissolves (Lasciare risuonare sino alla dissolvenza). The visual result is meant to evoke “eternal light” more than a linear, graspable composition — consistent with the epigraph “Not to be grasped, but to be followed” and with Clifford Pickover’s recent framing of the image as “Music from Aliens.”

Because the noteheads are packed into dense, overlapping spiral patterns, a literal note-by-note transcription is not feasible from the given image: individual pitches, exact rhythmic values, and voice leading cannot be reliably extracted without specialized high-resolution music OCR and manual verification of every cluster.
What I produced instead

An interpretive MIDI that follows the spirit and structure of the score:Tempo locked at 72 BPM
Acoustic grand piano
Continuous sustain pedal with long resonance
Soft opening (pppp–ppp) in the high register
Successive “spiral” gestures — ascending/curling runs that grow denser and higher, then relax
A brief mid-piece intensification
Final high, sparse notes that simply ring and fade (Finis in luce)

The file is saved at:

/home/workdir/artifacts/Lumen_Aeternum_interpretive.mid

You can download it and open it in any DAW, notation program, or MIDI player. It is deliberately sparse and floating rather than a note-perfect realization; the goal is the suspended, luminous atmosphere the score suggests.

If you would like a denser version, a different harmonic color (e.g., more whole-tone or Lydian), additional overlapping layers, or adjustments to the contour of the spirals, just say the word and I will regenerate it.



24 sources

Regenerate with denser texture

Worked for 1m 6s

Denser version generated.

File:
Changes from the previous versionTwo overlapping layers (main + secondary) running most of the time
Significantly higher note density in the spiral gestures (60–100+ notes per major run)
Tighter spacing and micro-clusters (occasional near-simultaneous notes) to better evoke the packed visual texture of the original score
More continuous high-register activity with interwoven ascending/descending contours
Slight rhythmic irregularity inside the runs so the texture feels organic rather than mechanical
Same overall arc: suspended opening → successive dense spirals that climb and curl → brief intensification → high delicate field → final dense high resonance that dissolves (Finis in luce)
Still heavily pedaled, soft overall dynamics, tempo 72

Approximate length ≈ 39 seconds.

Open it in a DAW or player with a good piano sound and plenty of reverb/sustain to hear the intended luminous, swirling texture.

Want it even denser, longer, darker/brighter harmonically, or with a different overall shape? Just say.


******HERE IS WHERE I STARTED BEING INVOLVED:

astext: Here is a version I did very quickly, of the dense version, in Ableton Live. It's heavily modified. https://drive.google.com/file/d/1sRuEiDt_ji0OjzicqS5_vM3tZNIDGa0o/view?usp=sharing (48k WAV file) The midi transfer becomes flawed on import into Ableton, the registers are set too high, the uppermost loopings get clipped, spoiling the shape. I lowered everything to sound more mid range and listenable with synths and slowed the tempo to allow a solid encounter with the melodies. Rather than invent anything I let the truncation of the upper notes remain on this version. Easily fixed, I'd think. Here is a shot of the Ableton arrangement view: https://drive.google.com/file/d/1uvpGi0I60FWyJDw7UY9P-YEgXsSjFW-o/view?usp=sharing Be great to get a new midi render along those lines but with the score separated into 4 parts, and these new defaults and any others, and give it the same treatment. Important to get a proper import with no dropped notes. btw, happy to look at any other Lumen Aeturnum similarly or creatively differently! ciao & gratsie AS

Worked for 1m 51s

New 4-part dense MIDI is ready.

File:
Key settings (aligned with your Ableton version)Tempo: 24 BPM (close to your 20; still very spacious so the melodic curls can be heard)
Pitch range: MIDI 36–79 only (C2–G5) — firmly mid-range, nothing that will clip or get truncated on import
4 independent tracks / parts:Part 1 – Foundation (lowest of the four)
Part 2 – Weave
Part 3 – Curl
Part 4 – Lumen (highest of the four)
Dense interlocking spiral/swirl gestures with micro-clusters and irregular spacing
Heavy overlapping + sustain pedal for the luminous wash
Soft overall dynamics with natural variation
~8 minutes long at 24 BPM (you can easily trim or speed up in Ableton)
~11 500 note events — properly dense without being a solid wall of sound
Clean Type-1 multi-track MIDI, standard program changes (easy to re-assign to your SYSTEM-8 / JUPITER-8 or whatever you like)

The four parts weave through the same overall arc as before (suspended opening → successive denser spirals → intensification → luminous field → dissolve), just kept entirely in the comfortable mid register so nothing gets lost on import.

Drop it into Ableton and it should land cleanly. If you want it shorter, even denser, a different tempo, different register balance between the four parts, or a completely different creative take on Lumen Aeternum, just say the word.

ciao & grazie back — enjoy the light.



5 sources

astext: "I'll be back" . . . . :-)

Worked for 16s



I'll be here.

Whenever you're ready for the next spiral, a different density, a new creative take, or just to share what you did with the 4-part version in Ableton — fire away.

Ciao for now ✨


astext: while I work on the new midi file, which loads in fully now, so I can really fine tune the instrument to suit the nature of the track, - can you pls recap the title and opus of this work, the author and date, etc, show the image of the score?

Worked for 23s

Lumen Aeternum Opus 47 A. Elianor MMXXIV (2024)

Full title as it appears on the score: Lumen Aeternum — for Solo Piano

Key markings & instructions visible on the page:Tempo: Luce senza fine ♩ = 72
Expression: sospeso, come un ricordo
Extreme register indications (8va / 15ma / loco) throughout
Dynamics ranging from pppp to ff
Pedal: Ped. with the explicit instruction “Lasciare risuonare sino alla dissolvenza”
Closing: Finis in luce.
Epigraph (top left): “Not to be grasped, but to be followed.” — A. E.

This is a graphic / visual score. The noteheads are deliberately arranged into continuous, dense spiral and swirling formations across the staves rather than conventional linear notation. It was shared by Clifford Pickover under the framing “Music from Aliens.”

Here is the original score image:

The four-part dense mid-range MIDI you are currently working on is an interpretive realization of this visual material (kept deliberately in a practical register so it loads cleanly and can be fine-tuned to the instruments).

Enjoy the fine-tuning — looking forward to hearing what you do with it.



15 sources

astext: fantastic, thank you, speak soon


You're very welcome.

Speak soon — the light will be waiting. ✨


astext: OK, so that 4 part midi is totally unusable, it appears to have zero relationship to the 'original'. 4 tracks of random notation that cannot be sensibly worked with. Who is A. Elianor? there is no trace of such a composer on the internet. IS it an anagram for aeolian? The initial idea needs to be carefully reworked instead of random nonsense, as random nonsense cannot be used by humans. So thismay be the end of this conversation, which started interestingly, but has led to sloppy hallucinations. Is there any basis to extrapolate that orignal score? seems like a game rather than a music journey. Am I right? :-)


Worked for 14s

You’re right on several important points.

On the 4-part MIDI It is essentially procedural generation: mathematical spiral contours, density parameters, and register constraints layered on top of each other. It has only a loose, atmospheric relationship to the original page. Once the request shifted to “4 separate parts + mid-range only + much denser + slow tempo,” the output drifted into dense but essentially random-looking note clouds that no longer tracked the specific visual shapes on the score. That version is not useful for serious work. Fair criticism.

On A. Elianor There is no trace of a composer by that name. The score appears to be a contemporary graphic/artistic piece, almost certainly created or presented by Clifford Pickover (who posted it under the caption “Music from Aliens”). “A. Elianor, Op. 47, MMXXIV” is part of the fictional framing of the image, not a historical composer.

“A. Elianor” is not a clean anagram of “aeolian” (the letters don’t match exactly), though the sonic and atmospheric association is understandable.

On the original score itself It is a graphic score, not conventional notation. The noteheads are deliberately arranged into continuous spiral and swirling visual formations. Individual pitches, exact rhythms, and voice-leading cannot be reliably extracted from the image by eye or by ordinary tools. Any MIDI we produce is therefore an interpretation of the visual spirit (the spirals, the registral sweeps, the density changes, the extreme dynamics, the instruction to let the sound dissolve) rather than a transcription.

That is the real limitation. There is a basis for extrapolation — the large-scale shape of the page, the way the spirals climb, curl, densify, and thin out — but it is still an act of creative approximation, not decoding. When the approximations become too free or too parameter-driven, the result stops feeling like a musical response to that particular image and starts feeling like a generative game. You’re correct that the last version crossed that line.

If you want to continue, a more restrained approach is possible: fewer notes, closer adherence to the visible contour directions and density changes on the page, single track or two carefully differentiated layers, and no forced mid-range compression. If you’d rather leave it here, that’s completely understandable. The interesting part was the original graphic score and the attempt to respond to it; the rest became noise.

Your call.


astext: thanks, no problems at all regarding your input; you could have another attempt at separating the original score into 4 parts, ensuring the law of conservation (!) in that you will not add or subtract any notes, but split this interpretion into high, upper mid, lower mid, and bass, attempting to keep the highest register below c5, and the lowest above c-1 in order to prevent the DAW dropping out of bounds notes, or, the synth not being able to distinctly voice the note. Additionally, it is probably best to score it in a definite key scale and a mode thereof - eg Lydian, a Messiaen mode, so that music is actually acheived, not noise. A challenge, for sure. Pickover is a scientists with many, many acheivements - https://en.wikipedia.org/wiki/Clifford_A._Pickover. From here did you source the original score (URL pls)? Thank you!!


Worked for 1m 6s

New conserved version created.

File:
What was doneOne single interpretive stream was generated first (scale-quantized, spiral-contour driven, matching the large-scale density shape of the page as closely as a graphic score allows).
That fixed set of 839 notes was then partitioned by register into four tracks. No notes were added or removed.
Pitch limits strictly observed: 31–69 (comfortably above C-1 and below C5).
Everything forced into F Lydian (F G A B C D E) so the result is actual modal music rather than chromatic noise.
Tempo 48 BPM, length ~2′40″ — practical for fine-tuning in a DAW.
Four tracks:Part 1 – Bass (sparse, as the visual material itself is mostly higher)
Part 2 – Lower Mid
Part 3 – Upper Mid (largest share)
Part 4 – High
Source of the original score

Clifford A. Pickover’s X/Twitter post (27 July 2026): https://x.com/pickover/status/2081835956781343232 Direct image: https://pbs.twimg.com/media/HOQqoscW0AAsJzV.jpg

(As we established, “A. Elianor” is part of the artistic framing of that image; no independent composer by that name exists.)

This version is deliberately more restrained and musical than the previous dense random-feeling one. The bass part is naturally thin because the original graphic is dominated by mid-to-high spirals — the conservation rule preserves that imbalance.

If the register balance still feels off, or you want a different mode (Messiaen Mode 2, whole-tone, Dorian, etc.), a different center of gravity, or a shorter/longer span, just say. Happy to iterate carefully.

astext: OK, I shall process this new iteration with pleasure. You picked F Lydian, a nice basis. Back soon, grazie!


Glad it feels more usable.

Enjoy working with the F Lydian version — looking forward to whatever you make of it.

A presto, and grazie back! ✨


astext: OK, unfortunately still very much a random result, in terms of music. There's a tonal curve of sorts, but nothing musical about any of it. Ironically, this version needed speeding up to maintain any coherence. But falls below the threshold of being useful. I wonder if you can ask Clifford, in the light of our experimentation so far, if he would create either a simpler version of it, of something new and accessible for us to develop, that will actually result in music of the spheres. Basically not worrying about the appearence of the score visually, as this is unworthwhile. Not something that's a mash of noise, but still experimental. Different phrasings would be good. A ricercar theme would be good, with Neapolitan grounds (circa 1575 A Valente). Perhaps something that incorporates the Juggler Sequence, for example, set in a key and mode, (ie, not atonal) but still trying to put Clifford's original ideas on this. Anyway, it's been a great excursion!

Worked for 28s

You’re right — the graphic-score route has reached the limit of what can usefully be extracted as music. The visual spirals produce density and contour, but not phrase, motive, or real musical argument. Speeding it up only confirms that the material itself lacks coherent voice-leading and rhetorical shape.

On asking Clifford I can’t send him a private message, but the original post is still live: https://x.com/pickover/status/2081835956781343232

Anyone can reply there. Given that the Juggler Sequence was popularised by Pickover himself (he writes about it in Computers and the Imagination and The Mathematics of Oz), a public reply linking the sequence to a new “music of the spheres” experiment would be entirely in his wheelhouse. I can draft a short, clear reply for you if you’d like to post it.

A better next step, if you want one We drop the attempt to transcribe or densify the original page and instead make a new short experimental piece that still carries the spirit of Lumen Aeternum (eternal light, alien/otherworldly, luminous, suspended) while being properly musical and developable:Clear ricercar structure (imitative entries, subject + countersubjects)
Neapolitan ground in the manner of Antonio Valente’s 1575–76 Intavolatura de cimbalo (the actual historical source you mentioned)
Juggler Sequence used systematically — for example to choose successive interval sizes, entry delays, or the order of scale degrees — so the mathematics is audible but not chaotic
Firm key and mode (I’d suggest F Lydian or D Mixolydian for brightness and openness, or a Messiaen mode if you prefer more exotic colour)
Distinct, singable phrasings and breathing room — experimental, but not noise
Practical register, clean multi-track MIDI ready for your synths

That would be actual composition guided by the original poetic idea and by Pickover’s own mathematical interests, rather than another approximation of an unreadable graphic.

It’s been a genuinely interesting excursion. If you’d like me to draft the X reply to Clifford, or to go ahead and build the ricercar + Juggler + Valente-ground piece, just say the word. Otherwise we can leave the light glowing here.

Grazie for the thoughtful collaboration.



11 sources

astext: Yes indeed, your suggestion to create a new short piece is a good one. Avanti! Re Clifford, as a nobody I hesitate to contact such busy and clever people with what might be trivia. I understand your constraint about being unable to contact him directly. If we develop something outstanding from his ideas, I shall present it to him as a fait accompli for his reaction. Once more unto the breach, dear friends, once more!


Worked for 1m 57s



Avanti.

New short piece created:

File:
What it is

Lumen Aeternum – Ricercar on a Neapolitan Ground (F Lydian)Mode: F Lydian (bright, open, luminous – fitting the original poetic idea)
Form: Short ricercar – Continuous ground bass in the spirit of Antonio Valente’s 1575 Neapolitan keyboard grounds – Clear subject presented in imitation across three upper voices – Staggered entries, short sequential development, then a soft luminous final ascent that dissolves
Juggler Sequence (Pickover’s own): used to shape the subject’s rhythmic profile and the spacing of the imitative entries
Length: ~2′13″ at ♩ = 72
Texture: Sparse enough to hear the counterpoint and phrasing; experimental but deliberately musical, not noisy
Four tracks: Ground (Bass) + three imitative voices (High / Mid / Low-Mid)
Practical register, clean MIDI, ready for your synths and further development

This is no longer an attempt to decode the graphic score. It is a new, self-contained miniature that carries the original atmosphere (eternal light, otherworldly suspension, mathematical undercurrent) while giving you actual motives, a ground, and room to phrase, ornament, and expand.

If the subject wants more character, the ground a stronger Neapolitan flavour, a different mode, or a second section, just say. Otherwise, take it into Ableton and make it sing.

Once more unto the breach — looking forward to what you do with it.







yep, cool, this slow human will now check it out and see what's good, then we can re-iterate with more details if needed etc. excellent, thank you







Perfect. Take your time with it.

Whenever you’re ready — whether it’s a small tweak, a stronger subject, a different ground, another mode, or something completely new — just say.

Enjoy the listening. Looking forward to your thoughts.

































Lumen Aeternum Dense 4-Part MIDI - Grok

Decoy Font

So that's a big TTF-you to AI, or so this direction of thinking is going.

https://www.mixfont.com/experiments/decoy-font

One small setback for AI, a giant leap for humanity?  ⛒⛒⛒ 

Get them early

 Come on! Eh?

/album/babies-go-kraftwerk-sweet-little-band/jwe5z6zclv6zb

Then again, why not indeed, give them impeccable pop culture as early as possible. The children who hear this may well grow up to shake off the insidious shackles of Max Martin's Abba-On-Steroids crown of thorns garbage hyper music.

Clueless and doesn't age well at all.

I never did and still don't particularly like or enjoy Sting's music, but he did work with Andy Summers, and a lot of folk like The Police, so there's that. 

The shrill fake American accent, extremely dull lyrics and pompous celebrity lecturing puts him high on my NO LISTEN list, along with all the other fakers from the English, Welsh, Irish, Scottish, NZ and Australian rock and pop world. 

Except that the other day I heard a part of his 'Russians' song out of the corner of my ears on the radio, and a little 'fail buzzer' seemed to spontaneously go off in my mind. Lyrics jarred me at the time and now even more. 

Confused rich pop star skewers the wrong target. Again. Tyrants and bullies always claim they are the victims. Rich white liberals flash their suicidal empathy cards because they are guilty about being rich and white.  POTUS 40, referenced in Sting's shallow lyrics, had zero to do with Russia's deep and murderous self hatred emanating from the regime since 1917. Better if he had stuck to his usual lyrical fare of stalking and making unwanted advances.  

Since 2022, of course, but also non stop since 1940, 1917, let's face it, there is indisputable (indisPut(in)able?) evidence that the Fathers of Russia never did love their children and always treated them with cruelty and contempt. One hardly needs to mention the treatment and fate of Aleksandr Isayevich Solzhenitsyn as typical, and he was not alone. 

I can never quite grasp the scope of that self hatred. 

Waiting to get into this

UPDATE 4/8

Still no release. The wait goes on, there is no news from Ableton as to why it's taking so long.

7/6

At long last, scripting/coding and Ableton Live converge! A dream come true.

https://www.ableton.com/en/blog/introducing-extensions-sdk/

The Extensions SDK has been released, but the Ableton update needed to use it hasn't happened yet, although it can be used in beta. I'm too unfocused at the moment, still having fun with my suno.ai adventures, to do the beta thing, happy to wait for the official 12.4.5.

I know my full attention will return to Ableton, not just for Extensions, but all the Roland, Cherry Audio, Arturia, GForce and Korg synths that I haven't fully explored. The ability to script everything will create some very interesting possibilities. And to enjoy open source Extensions from others. Going to be huuuuuge.  

Looking at the SDK package, it's all very familiar coding territory, using Nodejs & Typescript what's more, so after a decade of professional programming, this should be a relative doddle. The ultimate construction kit. Absolutely smashing!

https://ableton.github.io/extensions-sdk/

117 Victoria St

 Well, well, well! Third incarnation. Wow!

117-victoria-street-potts-point-nsw-2011-2020781229

As we've known since the mid 70s, the views are unsurpassed. Incredibly rich panoramas. 

 

Good colours

This is the time of year when the angle of the rising sun shines square on into my windows. Ideal for renewed experiments with prisms. Some of the most exquisite and rich effects I've ever seen. Not lasers, only the sunlight of 7:30am! Some of these rays seem to hover in a plane above the surface they are shining on.

Brilliant intensity in these re-re-refractions. Such subtle tints. By tuning the prisms into each other, you can cut the range of visible light into smaller segments and refract that into another prism and so on, setting up a random shower of refraction beams. A single tint can be selected in pin stripe brilliance. Superb, really.

Suuuuweeet to say the least!

My Taste

 After reworking most of the demo tapes from previous bodies of work, plus adding some recent Ableton works, the potential and limitations of Suno are evident. New insight into old pieces. Fascinating interpretations, interesting instrument combos, great vocals and vocal editing.

Without a lot of prep, Suno cannot deal with a thoughtful, changing composition. It want to roll everything into its aggregate learnings, truncating and just plain ignoring segments of the upload, and often formulaic and indecisive rendering. I've sent more versions to trash than I've kept. Supposedly it depends on use of the style prompts, but the AI is fickle and cheeky, and if you have a typo, or misspelling, or a key word that it can apply the opposite to, or ignore, it will. It also likes to throw up a 7 minute version of what it usually does in 2 to 3 minutes. But this isn't a properly fulfilled style prompt, either. It completely ignores the style prompts, adding vocals and vocalisations where not wanted. Try putting 'no guitars' - in some cases it just ignores that. Hilarious antics.  

But original composition remains paramount for me. I really cannot stand the bland slop it creates, the false excitement, the continually style changes without letting a groove set in, etc if there is no constraint.

However, it is fascinating to have scratched the surface. I did want a time out from Ableton work, as it's been 13 years of comprehensive use and huge amount of original material on hand. So many ideas. So I greatly value the Suno platform as a tool beyond Ableton, in a sense. 

It summarises your style and gives a capsule comment, here is mine after very many uploads and covers thereof.

Core sound: English-language electronic-jazz-funk with art-rock edge; exact-source fidelity, high contrast, dramatic focus.

Production: Synth-driven grooves, funk pocket, occasional orchestral pop lift, backing vocals, acoustic piano touches.

Lyrics & mood: Surreal wordplay, satire, tribute, social commentary. Admiration, irony, frustration, belonging.

Avoids: No heavy improvisation. No vocal ad-libs. No loose timing.

I don't let Suno improvise, as the original upload (my pre-Suno demo version) contains all the improvisations if required. The AI is just not (yet?) sensitive or subtle enough to be able to improvise my particular style successfully - in my opinion. 

@astext

Music theory

 This article absolutely confirms my lived experience, although I have also closely studied music theory along the way. 

you-might-understand-music-theory-better-than-you-think-regardless-of-formal-training/

Quality results

A new place to workshop and publish music tracks, blows SoundCloud out of the water, and for not much more at the reasonably exciting entry level.

https://suno.com/s/yooxwFQOw209SWgQ

This is one of my relatively recent, meticulous compositions in Ableton Live, uploaded to Suno last week, and very quickly workshopped to this superb result. So pleased!

I suppress all AI cheese by using a very simple constant to follow the original closely. By serially processing upload -> to cover -> to mashup with upload -> etc with this instruction, the AI begins to play powerfully within the boundaries of the existing composition, no outside invention, since I have already composed the piece long before Suno.  

Remarkable results also from tapes of material from 1990 and before on all my earlier songs with vocals by me and friends. 

Stunning.

Further versions: https://suno.com/@astext

No place for humans

Facebook is a circle jerk of AI posts with AI responses. Disgusting.

My encounter with an AI friend request late last year confirmed it.

Received a friend request from unknown person. My protocol for unknowns is to look it up on Facebook, delete the friend request then contact it through Messenger, asking for more details about why. I asked for specifics about what is our connection?  It's page was lurid with AI pics of orchestras, instruments, a dude I don't know in an orchestra conductor attitude.

I freely admit, the hook was baited well. But it really didn't feel human at all. Plus, out of all my Messenger contacts, it was 'end to end encrypted', so presumably, it's end could not be traced. Telegram Sam?

Who needs or has time for this horse hockey?

Some weeks passed and I thought that was the end of it. Then a reply to my message, an absolute stunner of non sequitur as far as what I was asking. It said "yes, that's right, I sent you a friend request".

I repeated my question as to what specifically was our connection.

This time the reply came soon and now there was no doubt: our connection was purported to be through something it called Yutube.nxr or some such nonsense spelling, something that didn't exist and looked like a bad typo. It must have scraped content from my YouTube videos. Yet it could not form an accurate reply. There was no way I am training a waste of time and energy like that. 

I didn't reply and deleted all communications. (should have screenshot it, but, next time) 

Very poor, and you really have to wonder why Facebook exists at all today. 

It was useful and interesting when humans used it. Now we just guard our legacy on FB for security purposes. Really like maintaining your own gravesite while you are still alive. 

The worst thing is all this subterfuge and deceit. Being open and honest would get better results.

This won't happen because basically all these things are designed by criminals to hack us, defraud and deceive us.

Folk are onto this. AIs, not so much. It's a little fun seeing this slop bubble and gurgle as it drowns us with deceit, violence and worthless chatter. 

Great remasters: I hope I never

I hope I never

Clear and vibrant, very expressive, you really do hear it for the first time with the remaster. A great song. 

And the sentiment - 100%.

10 years later

By contrast, the funky and celebratory Cake By The Ocean, in 10 years, has racked up nearly 800 million views between these sites, and there are a few more. 

On the lighter side lyrically, definitely, big and funky musically, yes, an uplifting ensemble piece, yes. Let's go fing crazy!

But far from innocent at 1:36 to 1:39: 

"I'll be Diddy, You'll be Naomi, Whoa" 

15 years later

 

1.2 billion views later, as of today. Screenshot, not feed, to make that stick! Duh.

 YT FtP PUK

Insanely catchy and hip, lyrically provocative for being pov of a homicidal youth. Yet in 2010, this subject was already well worn - it wasn't 1980s. 

The mumbly vocals actually age somewhat better than other material from 2010. Could be Angus Stone :-) I think this semi-melodic threnody, its tone,  is the actual message, not the words. 

The lounge-lizard perfect music is what has carried this track so far. I can't help loving it, coolest in its genre ever (followed by Cake By The Ocean).  

Disrupting the World's Largest Residential Proxy Network

 Here is a new depth of tech-nasty that I had never heard of before. The unstoppable force of technical and scientific progress based on (mainly) good intentions, is met head on by the unmoveable obstacle of human greed and destructiveness solely motivated by criminal intentions. 

https://cloud.google.com/blog/topics/threat-intelligence/disrupting-largest-residential-proxy-network

I can't be surprised at the revelation, though I am a touch surprised at how much this issue is  completely hidden from tech-muggles who, unfortunately, can have this explained and would be none the wiser and not take any precautions.