AI ‘actor’ Tilly Norwood put out the worst song I’ve ever heard

AI ‘actor’ Tilly Norwood put out the worst song I’ve ever heard

When the manufacturing company Particle6 debuted its AI-generated “actor” Tilly Norwood last fall, the transfer was not warmly welcomed by Hollywood.

“Good Lord, we’re screwed,” Golden Globe winner Emily Blunt said in an interview with the trade publication Variety. “Come on, agencies, don’t do that. Please stop.”

If only Particle6 adopted Blunt’s recommendation. Instead, the company has put out a music video for its AI character, that includes a song called “Take the Lead.”

This just isn’t clickbait. Upon listening to it, I truly suppose it’s the worst song I’ve ever heard.

I used to be ready for Norwood’s musical debut to sound one thing like “How Was I Supposed to Know?”, the AI-generated song attributed to the digital persona Xania Monet, which turned heads when it made it onto the Billboard R&B charts. Xania Monet’s AI-generated music isn’t my cup of tea, even if its lyrics are supposedly written by a real particular person — I personally favor music that might exist without an AI music generator like Suno. But Norwood’s song has unlocked a new level of AI cringe.

Eighteen people contributed to the video for “Take the Lead,” including designers, prompters, and editors. Yet the song itself is about Tilly’s challenges as an AI-generated character who critics underestimate, because they imagine she just isn’t human.

“They say it’s not real, that it’s fake,” Norwood snarls at the digicam. “But I am still human, make no mistake.”

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That is, to put it gently, not true.

Music doesn’t should be relatable to everybody, however maybe it needs to be relatable to a minimum of one particular person. What’s most spectacular about Norwood’s song is that the AI character’s team managed to create a song about one thing that actually no human will ever experience, because no particular person can join with the feeling of being disregarded for being an AI.

The song, which seems like a Sara Bareillis rip-off, opens with the traces, “When they talk about me, they don’t see/The human spark, the creativity.” The song builds as Norwood affirms to herself, “I’m not a puppet, I’m the star.”

Then comes the refrain, during which Norwood appeals to her fellow AI actors:

Actors, it’s time to take the lead
Create the future, plant the seed
Don’t be left out, don’t fall behind
Build your personal, and also you’ll be free
We can scale, we are able to develop
Be the creators we’ve always identified
It’s the next evolution, can’t you see?
AI’s not the enemy, it’s the key

In the video, Norwood struts down a hallway in a data middle, which is probably the only a part of the video grounded in any aspect of honesty. When the second refrain hits with a predictable key change, she instead walks across a stage, wanting out right into a stadium of cheering pretend people who give her an undeserved second of “triumph.”

You might make the argument that Norwood is making an attempt to enchantment to actors at large and never just other AI characters. But the outro leaves no query that this is, in fact, a rallying cry from Tilly to her AI brethren:

Take your energy, take the stage
The next evolution is all the rage
Unlock all of it, don’t hesitate
AI Actors, we create our destiny

We don’t want this. We don’t want music from an AI persona addressing other AI personas with a hopeful anthem about working together to show judgmental people fallacious.

Twenty years in the past, the influential music publication Pitchfork gave Jet’s album “Shine On” a 0.0 out of 10. Instead of writing a review, they just embedded a YouTube video of a monkey peeing into its personal mouth. The Jet album isn’t abhorrent, however Pitchfork editor Scott Plagenhoef explained in a 2024 interview why the web site’s writers had been so indignant about all of it those years in the past.

“Seeing mainstream rock music, which of course most of us had grown up with a fondness for, become so knuckle-dragging and Xeroxed was disappointing,” he said.

These are the same complaints that artists have today about AI-generated works — these productions ring hole and easily reproduce the work of artists past.

“‘Tilly Norwood’ is not an actor; it’s a character generated by a computer program that was trained on the work of countless professional performers — without permission or compensation,” SAG-AFTRA, the union representing actors, wrote in a assertion last fall. “It has no life experience to attract from, no emotion and, from what we’ve seen, audiences aren’t occupied with watching computer-generated content untethered from the human experience. It doesn’t resolve any ‘problem’ — it creates the downside of utilizing stolen performances to put actors out of labor, jeopardizing performer livelihoods and devaluing human artistry.

While Jet was taking inspiration from older rock teams to make its “knuckle-dragging and Xeroxed” music, Tilly Norwood is actually derived from AI fashions that couldn’t exist without the training data that tech firms took from artists without their consent.

I believe Pitchfork jumped the gun. Twenty years later, they lastly have a worthy topic.

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