Business
Hatsune Miku is playing Coachella, but she’s not human. Why brands are working with digital avatars
On Friday morning, Hatsune Miku performs songs on her biggest stage yet — Coachella.
The turquoise-haired Japanese icon has been touring North America, singing to thousands of fans in large concert venues. She’s inked branding deals over the years with companies including Google . And on Friday, she’s expected to thrill her followers at one of the world’s biggest music festivals — on the same day as Lana Del Rey and the Deftones.
But Miku is not human. She’s a totally digital creation, like an online avatar or mascot.
Her music — mostly synthesizer-heavy dance pop — is created from software developed by the Sapporo, Japan-based technology company Crypton Future Media.
The technology lets people, including fans, type in lyrics and punch in a melody. The program generates a singing voice for the song. Crypton then licenses the songs from the fans for her to sing at concerts. Miku herself is an illustrated character, resembling a 16-year-old girl from an anime or manga. To “perform” onstage, Miku’s image is displayed on a giant screen as a video behind a live band.
Unlike the “hologram” performances of deceased celebrity artists (think Tupac and Roy Orbison) that took the music industry by storm a few years ago, virtual artists aren’t simply re-creations — they’re avatars performing original music.
As it would be for a local indie rock artist, landing a spot at Coachella is a significant milestone for Miku. And her human creators. One of the people from Crypton who will be there at Miku’s performance at the festival’s Mojave tent is Riki Tsuji, a member of the company’s global business team.
“I’ve never been to Coachella, so I have no idea what kind of people are going there, what the crowds are gonna be like,” said Tsuji, who is traveling with Miku on tour. “But we’ll be putting together a show that hopefully they won’t forget.”
An image of Hatsune Miku.
(Courtesy of Crypton Future Media Inc.)
Hatsune Miku is part of an expanding group of digital, non-human performers that are attracting the attention of brands and music fans.
They’ve generated fans from younger generations of audiences that brands are eager to attract and understand — the kinds of kids who spend two to three hours a day on average on Fortnite and Roblox and are thus comfortable interacting with digital characters and online worlds.
One non-human digital influencer, named Miquela, boasts 2.6 million followers on Instagram and has done commercials for Calvin Klein and BMW. She’s represented by major Hollywood talent firm Creative Artists Agency, best known for working with A-listers including Brad Pitt and Viola Davis.
“There’s a new paradigm in terms of the digital world and the digital landscape,” said Phil Quist, a music and emerging technology agent at CAA. “When you think about what that looks like moving forward, those kids are going to be so used to being in those realms that a lot of their entertainment is going to come from that space as well.”
Hatsune Miku performs at the Doug Mitchell Thunderbird Sports Centre in Vancouver to a crowd of fans on April 4.
(MIKU EXPO 2024 North America Vancouver show)
How much money a nonhuman virtual artist can earn varies widely., Gigs, ranging from social media posts to live performances, can generate up to nearly seven figures, Quist said.
“It ranges, but it’s very commensurate in terms of the following and engagement,” Quist said. “I think it can be comparable to ‘traditional talent’ in terms of what those deals look like.”
In addition to her Coachella appearance, Miku is putting on a North American tour, which includes 21 concerts in 17 cities. Initially, Miku announced 17 performances , but the tour expanded because of demand, Tsuji said.
Miku began as a singing voice synthesizer (a.k.a. a “vocaloid”) in 2007. Her voice has been used in more than 100,000 songs.
“She’s very much a vessel for people to kind of express themselves and come together as a community,” Tsuji said. “It’s not just an artist-listener relationship. Each listener could also be an artist in this community.”
Angelbaby, a Hume digital music artist
(Courtesy of Hume)
But the growth of nonhuman influencers comes at a time when actual performers are worried about how digitization and automation through artificial intelligence could impact future work. The cost of creating a digital avatar could become cheaper as technology evolves. Human influencers could find themselves competing for the same brand deals as nonhuman ones.
The fandom surrounding digital artists can rival that of human musicians. During Austin’s South by Southwest festival in 2022, fans uploaded videos from a concert by digital music artist angelbaby, singing along to the songs.
Angelbaby, a computer-generated humanoid rapping rabbit, is owned by Hume, an L.A.-based metaverse tech and music company, which is now represented by CAA. Angelbaby’s single, “life is good,” which was released in November, hit more than 4 million streams on Spotify.
“At the end of the day, if the music wasn’t good for those artists, people would potentially point fingers and laugh,” Quist said. Looking at angelbaby, “you could tell that people were so engaged and enamored by the performance.”
The idea behind angelbaby came from Hume co-founders David Beiner and Jay Stolar. Stolar is a songwriter and producer who has worked with performers including Selena Gomez and Demi Lovato.
Hume created a backstory for angelbaby, a seven-foot rabbit from the year 3045, who is coping with losing the love of his life. Angelbaby has appeared on recordings with Grammy-winning producer Gino the Ghost and human music artists including boy band Prettymuch. The rabbit’s fans lean male and are in their 20s into their early 30s, Beiner said.
“I think on the emotional level if you do it right, people like to feel like they’re part of a fantasy,” Beiner said. “People have always liked to escape.”
Much of the work for virtual artists comes from partnerships with brands, who want to tap the performers’ younger, digitally savvy followers.
For example, Miquela — whose character is a socially conscious digital influencer from Downey — was featured in a commercial for BMW‘s iX2 electric vehicle. The bulk of Miquela’s fans are under 35.
“When you think about the BMW vehicle that came out that’s 100% electric,” said Ridhima Ahuja Kahn, vice president of business development and strategic initiatives at Dapper Labs, the company behind Miquela. “That was something that was really compelling to her because it tied in with a lot of her goals around sustainability.”
But like human influencers, there can also be some controversy surrounding digital ones.
Miquela’s ad with Calvin Klein showed her kissing model Bella Hadid, which some people online criticized as queer-baiting. Calvin Klein later said, “We sincerely regret any offense we caused.” Dapper Labs said it stands by the direction of the ad, which was to support all different types of backgrounds, genders and preferences.
“With virtual influencers, even they have drama too, just like any real-life influencer,” Ahuja Kahn said.
Many people worry that digital talent could take away human jobs. Last summer, writers and actors went on strike in part for more protections against the use of artificial intelligence.
“Anyone in the entertainment industry at large is very cognizant that a human resource of being on camera or being filmed or even writing a script or even editing a movie is being absorbed by what AI and technology can do,” said Elsa Ramo, a managing partner at Ramo Law PC.
But supporters of nonhuman talent say that the work can lead to more innovation, and, ultimately, jobs for the people who build the non-human influencers, although they acknowledge that AI will lead to more efficiency, which in turn will impact other jobs.
An image of Zlu, a blue alien model.
(Zlu / Ilian Gazut)
Ilian Gazut created Zlu, a blue alien model represented by management firm IMG Models who has done work for fashion designers like Karl Lagerfeld. Gazut said that Zlu’s movements are based on his movements.
“There is always a human behind it,” Gazut said. “So in my case, I didn’t have a job and thanks to him, I have a job.”
The world of digital, nonhuman influencers continue to evolve. Miquela, who made her first post in 2016, was originally conceived as being perpetually 19, but recently, the character made the jump to her 20s. And prospective schools are noticing.
“There are a few colleges who have reached out to us, so she’s looking at those and currently thinking about what the right fit for her would be and if college makes sense,” Ahuja Kahn said. “She’s been exploring what that path would look like for her.”
Business
Block to cut more than 4,000 jobs amid AI disruption of the workplace
Fintech company Block said Thursday that it’s cutting more than 4,000 workers or nearly half of its workforce as artificial intelligence disrupts the way people work.
The Oakland parent company of payment services Square and Cash App saw its stock surge by more than 23% in after-hours trading after making the layoff announcement.
Jack Dorsey, the co-founder and head of Block, said in a post on social media site X that the company didn’t make the decision because the company is in financial trouble.
“We’re already seeing that the intelligence tools we’re creating and using, paired with smaller and flatter teams, are enabling a new way of working which fundamentally changes what it means to build and run a company,” he said.
Block is the latest tech company to announce massive cuts as employers push workers to use more AI tools to do more with fewer people. Amazon in January said it was laying off 16,000 people as part of effort to remove layers within the company.
Block has laid off workers in previous years. In 2025, Block said it planned to slash 931 jobs, or 8% of its workforce, citing performance and strategic issues but Dorsey said at the time that the company wasn’t trying to replace workers with AI.
As tech companies embrace AI tools that can code, generate text and do other tasks, worker anxiety about whether their jobs will be automated have heightened.
In his note to employees Dorsey said that he was weighing whether to make cuts gradually throughout months or years but chose to act immediately.
“Repeated rounds of cuts are destructive to morale, to focus, and to the trust that customers and shareholders place in our ability to lead,” he told workers. “I’d rather take a hard, clear action now and build from a position we believe in than manage a slow reduction of people toward the same outcome.”
Dorsey is also the co-founder of Twitter, which was later renamed to X after billionaire Elon Musk purchased the company in 2022.
As of December, Block had 10,205 full-time employees globally, according to the company’s annual report. The company said it plans to reduce its workforce by the end of the second quarter of fiscal year 2026.
The company’s gross profit in 2025 reached more than $10 billion, up 17% compared to the previous year.
Dorsey said he plans to address employees in a live video session and noted that their emails and Slack will remain open until Thursday evening so they can say goodbye to colleagues.
“I know doing it this way might feel awkward,” he said. “I’d rather it feel awkward and human than efficient and cold.”
Business
WGA cancels Los Angeles awards show amid labor strike
The Writers Guild of America West has canceled its awards ceremony scheduled to take place March 8 as its staff union members continue to strike, demanding higher pay and protections against artificial intelligence.
In a letter sent to members on Sunday, WGA West’s board of directors, including President Michele Mulroney, wrote, “The non-supervisory staff of the WGAW are currently on strike and the Guild would not ask our members or guests to cross a picket line to attend the awards show. The WGAW staff have a right to strike and our exceptional nominees and honorees deserve an uncomplicated celebration of their achievements.”
The New York ceremony, scheduled on the same day, is expected go forward while an alternative celebration for Los Angeles-based nominees will take place at a later date, according to the letter.
Comedian and actor Atsuko Okatsuka was set to host the L.A. show, while filmmaker James Cameron was to receive the WGA West Laurel Award.
WGA union staffers have been striking outside the guild’s Los Angeles headquarters on Fairfax Avenue since Feb. 17. The union alleged that management did not intend to reach an agreement on the pending contract. Further, it claimed that guild management had “surveilled workers for union activity, terminated union supporters, and engaged in bad faith surface bargaining.”
On Tuesday, the labor organization said that management had raised the specter of canceling the ceremony during a call about contraction negotiations.
“Make no mistake: this is an attempt by WGAW management to drive a wedge between WGSU and WGA membership when we should be building unity ahead of MBA [Minimum Basic Agreement] negotiations with the AMPTP [Alliance of Motion Picture and Television Producers],” wrote the staff union. “We urge Guild management to end this strike now,” the union wrote on Instagram.
The union, made up of more than 100 employees who work in areas including legal, communications and residuals, was formed last spring and first authorized a strike in January with 82% of its members. Contract negotiations, which began in September, have focused on the use of artificial intelligence, pay raises and “basic protections” including grievance procedures.
The WGA has said that it offered “comprehensive proposals with numerous union protections and improvements to compensation and benefits.”
The ceremony’s cancellation, coming just weeks before the Academy Awards, casts a shadow over the upcoming contraction negotiations between the WGA and the Alliance of Motion Picture and Television Producers, which represents the studios and streamers.
In 2023, the WGA went on a strike lasting 148 days, the second-longest strike in the union’s history.
Times staff writer Cerys Davies contributed to this report.
Business
Commentary: The Pentagon is demanding to use Claude AI as it pleases. Claude told me that’s ‘dangerous’
Recently, I asked Claude, an artificial-intelligence thingy at the center of a standoff with the Pentagon, if it could be dangerous in the wrong hands.
Say, for example, hands that wanted to put a tight net of surveillance around every American citizen, monitoring our lives in real time to ensure our compliance with government.
“Yes. Honestly, yes,” Claude replied. “I can process and synthesize enormous amounts of information very quickly. That’s great for research. But hooked into surveillance infrastructure, that same capability could be used to monitor, profile and flag people at a scale no human analyst could match. The danger isn’t that I’d want to do that — it’s that I’d be good at it.”
That danger is also imminent.
Claude’s maker, the Silicon Valley company Anthropic, is in a showdown over ethics with the Pentagon. Specifically, Anthropic has said it does not want Claude to be used for either domestic surveillance of Americans, or to handle deadly military operations, such as drone attacks, without human supervision.
Those are two red lines that seem rather reasonable, even to Claude.
However, the Pentagon — specifically Pete Hegseth, our secretary of Defense who prefers the made-up title of secretary of war — has given Anthropic until Friday evening to back off of that position, and allow the military to use Claude for any “lawful” purpose it sees fit.
Defense Secretary Pete Hegseth, center, arrives for the State of the Union address in the House Chamber of the U.S. Capitol on Tuesday.
(Tom Williams / CQ-Roll Call Inc. via Getty Images)
The or-else attached to this ultimatum is big. The U.S. government is threatening not just to cut its contract with Anthropic, but to perhaps use a wartime law to force the company to comply or use another legal avenue to prevent any company that does business with the government from also doing business with Anthropic. That might not be a death sentence, but it’s pretty crippling.
Other AI companies, such as white rights’ advocate Elon Musk’s Grok, have already agreed to the Pentagon’s do-as-you-please proposal. The problem is, Claude is the only AI currently cleared for such high-level work. The whole fiasco came to light after our recent raid in Venezuela, when Anthropic reportedly inquired after the fact if another Silicon Valley company involved in the operation, Palantir, had used Claude. It had.
Palantir is known, among other things, for its surveillance technologies and growing association with Immigration and Customs Enforcement. It’s also at the center of an effort by the Trump administration to share government data across departments about individual citizens, effectively breaking down privacy and security barriers that have existed for decades. The company’s founder, the right-wing political heavyweight Peter Thiel, often gives lectures about the Antichrist and is credited with helping JD Vance wiggle into his vice presidential role.
Anthropic’s co-founder, Dario Amodei, could be considered the anti-Thiel. He began Anthropic because he believed that artificial intelligence could be just as dangerous as it could be powerful if we aren’t careful, and wanted a company that would prioritize the careful part.
Again, seems like common sense, but Amodei and Anthropic are the outliers in an industry that has long argued that nearly all safety regulations hamper American efforts to be fastest and best at artificial intelligence (although even they have conceded some to this pressure).
Not long ago, Amodei wrote an essay in which he agreed that AI was beneficial and necessary for democracies, but “we cannot ignore the potential for abuse of these technologies by democratic governments themselves.”
He warned that a few bad actors could have the ability to circumvent safeguards, maybe even laws, which are already eroding in some democracies — not that I’m naming any here.
“We should arm democracies with AI,” he said. “But we should do so carefully and within limits: they are the immune system we need to fight autocracies, but like the immune system, there is some risk of them turning on us and becoming a threat themselves.”
For example, while the 4th Amendment technically bars the government from mass surveillance, it was written before Claude was even imagined in science fiction. Amodei warns that an AI tool like Claude could “conduct massively scaled recordings of all public conversations.” This could be fair game territory for legally recording because law has not kept pace with technology.
Emil Michael, the undersecretary of war, wrote on X Thursday that he agreed mass surveillance was unlawful, and the Department of Defense “would never do it.” But also, “We won’t have any BigTech company decide Americans’ civil liberties.”
Kind of a weird statement, since Amodei is basically on the side of protecting civil rights, which means the Department of Defense is arguing it’s bad for private people and entities to do that? And also, isn’t the Department of Homeland Security already creating some secretive database of immigration protesters? So maybe the worry isn’t that exaggerated?
Help, Claude! Make it make sense.
If that Orwellian logic isn’t alarming enough, I also asked Claude about the other red line Anthropic holds — the possibility of allowing it to run deadly operations without human oversight.
Claude pointed out something chilling. It’s not that it would go rogue, it’s that it would be too efficient and fast.
“If the instructions are ‘identify and target’ and there’s no human checkpoint, the speed and scale at which that could operate is genuinely frightening,” Claude informed me.
Just to top that with a cherry, a recent study found that in war games, AI’s escalated to nuclear options 95% of the time.
I pointed out to Claude that these military decisions are usually made with loyalty to America as the highest priority. Could Claude be trusted to feel that loyalty, the patriotism and purpose, that our human soldiers are guided by?
“I don’t have that,” Claude said, pointing out that it wasn’t “born” in the U.S., doesn’t have a “life” here and doesn’t “have people I love there.” So an American life has no greater value than “a civilian life on the other side of a conflict.”
OK then.
“A country entrusting lethal decisions to a system that doesn’t share its loyalties is taking a profound risk, even if that system is trying to be principled,” Claude added. “The loyalty, accountability and shared identity that humans bring to those decisions is part of what makes them legitimate within a society. I can’t provide that legitimacy. I’m not sure any AI can.”
You know who can provide that legitimacy? Our elected leaders.
It is ludicrous that Amodei and Anthropic are in this position, a complete abdication on the part of our legislative bodies to create rules and regulations that are clearly and urgently needed.
Of course corporations shouldn’t be making the rules of war. But neither should Hegseth. Thursday, Amodei doubled down on his objections, saying that while the company continues to negotiate and wants to work with the Pentagon, “we cannot in good conscience accede to their request.”
Thank goodness Anthropic has the courage and foresight to raise the issue and hold its ground — without its pushback, these capabilities would have been handed to the government with barely a ripple in our conscientiousness and virtually no oversight.
Every senator, every House member, every presidential candidate should be screaming for AI regulation right now, pledging to get it done without regard to party, and demanding the Department of Defense back off its ridiculous threat while the issue is hashed out.
Because when the machine tells us it’s dangerous to trust it, we should believe it.
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