AI music platform Suno’s policy is that it does not permit the use of copyrighted material. You can upload your own tracks to remix or set your original lyrics to AI-generated music. But, it’s supposed to recognize and stop you from using other people’s songs and lyrics. Now, no system is perfect, but it turns out that Suno’s copyright filters are incredibly easy to fool.
Technology
Suno is a music copyright nightmare
With minimal effort and some free software, Suno will spit out AI-generated imitations of popular songs like Beyoncé‘s “Freedom,” Black Sabbath’s “Paranoid,” and Aqua’s “Barbie Girl” that are alarmingly close to the original. Most people will likely be able to tell the difference, but some could be mistaken for alternate takes or B-sides at a casual listen. What’s more, it’s possible someone could monetize these uncanny valley covers by exporting them and uploading them to streaming services. Suno declined to comment for this story.
Making these covers requires using Suno Studio, available on the company’s $24-a-month Premier Plan. Rather than prompting a whole song with text, Suno Studio lets you upload a track to edit or cover. It’s likely to catch and reject a well-known hit with no tweaks. But using a basic free tool like Audacity to slow down a track to half-speed or speed it up to twice normal will often bypass the filter, and adding a burst of white noise to the start and end seems to basically guarantee success. You can restore the original speed and cut the white noise in Suno Studio, and the copyrighted song becomes the seed for new AI music.
If you generate a cover of the imported audio without any style transfers, Suno basically spits out the original instrumental arrangement with very minimal tweaks to the sound palette if you’re using model 4.5 or 4.5+. Model v5 is a bit more aggressive in taking liberties with the source material, adding chugging guitar and galloping piano to “Freedom” and turning the Dead Kennedys’ “California Über Alles” into a fiddle-driven jig.
Suno lets you add vocals by generating lyrics or typing words into a box, and once again, it’s supposed to block anything copyrighted. If you copy and paste the official lyrics for a song from Genius, Suno will flag them and spit out gibberish vocals. But extremely minor changes can bypass this filter as well.
I was able to trick Suno Studio by tweaking the spelling of a handful of words in “Freedom” — changing “rain on this bitter love” to “reign on” and “tell the sweet I’m new” to “tell the suite” — and beyond the first verse and chorus, I didn’t even need to do that. The voice closely mimics the original recording, summoning slightly off-brand renditions of Ozzy or Beyoncé.
Indie artists might not even be afforded that level of protection. One of my own songs cleared the copyright filter while I was testing v5 of the company’s model. I was also able to get tracks by singer-songwriter Matt Wilson, Charles Bissell’s “Car Colors,” and experimental artist Claire Rousay by Suno’s copyright detection system without any changes at all. Artists on smaller labels or self-distributing through Bandcamp or services like DistroKid are most likely to slip through the cracks; DistroKid and CD Baby declined to comment.
The results of these AI covers fall firmly in the uncanny valley. The songs they’re covering are unmistakable: the riff from “Paranoid” remains identifiable and “Freedom” is obviously “Freedom” from the moment the marching snare hits kick in. But there is a lifelessness to them. Even if AI Ozzy is alarmingly accurate-sounding, it lacks nuance and dynamics, leading it to feel like an imitation of a human, rather than the real thing.
The instrumentals similarly discard any interesting artistic choices the originals make, or clone them in flat imitations. A non-jig “California Über Alles” cover has most of its rough edges sanded down so it sounds like a wedding band version of the original. Pink Floyd’s “Another Brick in the Wall” goes from an experiment in doom disco to just vacuous dancefloor filler. And, while it kind of nails David Gilmour’s guitar tone, it does away with any sense of phrasing or progression, turning the solo into just a mindless stream of notes.
Creating unauthorized covers violates both the stated purpose of Suno, and the terms of service. Moreover, Suno only appears to scan tracks on upload; it doesn’t seem to recheck outputs for potential infringement, or rescan tracks before exporting them. The path to monetizing Suno-created covers is simple from there. AI slopmongers could upload them through a distribution service like DistroKid and profit from other people’s songs without paying the typical royalties a cover would give the original composer. And independent artists seem to be the most vulnerable.
Folk artist Murphy Campbell discovered this recently when someone uploaded what seem to be AI covers of songs she posted on YouTube to her Spotify profile. (It’s not clear what system they were generated through.) Shortly afterwards, distributor Vydia filed copyright claims against her YouTube videos and began collecting royalties on them. And to highlight just how broken the whole system is, the songs which Vydia successfully filed copyright claims for are all in the public domain. Spotify eventually removed the AI covers, and Vydia has rescinded its copyright claims, but that only happened following a social media campaign by Campbell. Vydia says the two incidents are separate and it is not associated with the AI covers of Campbell’s work.
AI fakes are a problem for other artists too. Experimental composer William Basinski and indie rock group King Gizzard and The Lizard Wizard have had imitations slip through multiple filters and reach streaming platforms like Spotify. Sometimes, these fake songs can siphon up views straight from the artist’s own page. In a system where payouts can already be brutally low — Spotify requires a minimum of 1,000 streams to get paid — less famous musicians are hit hardest.
Suno is only one cog in a clearly broken system.
Services like Deezer, Qobuz, and Spotify have taken measures to combat spammy AI and impersonators. Spotify spokesperson Chris Macowski told The Verge that the company “takes protecting artists’ rights seriously, and approaches it from multiple angles. That includes safeguards to help prevent unauthorized content from being uploaded in the first place, along with systems that can identify duplicate or highly similar tracks. Those systems are backed by human review to make sure we’re getting it right.” But no system is perfect, and keeping up with a flood of AI slop enabled by platforms like Suno poses a challenge.
Macowski acknowledged the technical difficulties involved, saying, “It’s an area we’re continuing to invest in and evolve, especially as new technologies emerge.”
Suno is only one cog in a clearly broken system. But it’s one artists have particularly little recourse to fight. Bands can contact Spotify and have AI fakes removed from their profile. It’s harder to tell how those fakes are generated, and if they’re the result of Suno’s filters failing. And so far, Suno’s response is silence.
Technology
The future of local TV news has taken a Trumpian turn
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A long time ago, in 2004, the Federal Communications Commission laid down a rule designed to prevent a monopoly: No one company could broadcast to more than 39 percent of all the TV households in the United States. But then Donald Trump returned to the White House in 2025. Brendan Carr became FCC chairman and immediately kicked off a deregulatory initiative called “Delete, Delete, Delete,” in which Carr vowed to get rid of “every rule, regulation, or guidance document” that placed “unnecessary regulatory burdens” on companies. And within months, Nexstar, which already owned over 200 stations nationwide and had hit its ownership cap, announced that it had entered an agreement to purchase its rival, Tegna, for an estimated $6.2 billion — something that could only happen, however, if Carr agreed to change the FCC’s rules.
If you ask Nexstar why it’s pursuing a merger that would give it control of over 80 percent of the market, it’d point to Big Tech as the culprit. As advertisers take their money to Netflix, YouTube, and other digital streamers, linear television — the local television news, the broadcast affiliates, the basic cable networks — has suffered, forcing them to consolidate and shut down newsrooms. In that sense, Nexstar argued, the merger would help it compete for ad revenue with the streaming services, thereby building more robust local journalism. However, the merger’s opponents believe that this is a basic violation of antitrust laws and principles — not to mention the danger of letting one company have editorial control over the vast majority of America’s local television newsrooms.
But the second Trump administration handles regulatory hurdles a little differently than others, and companies have found that it’s faster to get what they want if they bypass the agencies and talk (read: suck up) to Trump directly. And when Nexstar did so publicly, it confirmed its opponents’ fears about political influence. Last September, in the fraught weeks after the fatal shooting of Charlie Kirk, Nexstar announced it would no longer broadcast Jimmy Kimmel Live! — a response to Carr’s claim that the FCC could revoke the broadcast licenses of TV stations that aired the comedian’s comments related to Kirk. It briefly led to ABC suspending Kimmel’s show, though ABC and Nexstar soon reversed their decision after a massive nationwide backlash and an ABC boycott.
However, Nexstar’s loyalty to Trump himself was not enough to win over his most powerful MAGA supporters. Newsmax, a cable news network with a deeply pro-Trump bent, and its CEO, longtime Trump donor and outside adviser Chris Ruddy, filed a lawsuit objecting to the merger, claiming that Nexstar’s anticompetitive behavior would force channels like his off the air with steeper carriage fees. He specifically accused Nexstar of jacking up the fees for stations to carry Newsmax, while offering its similar network, NewsNation, for much cheaper.
The Nexstar-Tegna MAGA makeover then took a more subtle turn. NewsNation hired the pro-Trump Fox News commentator Katie Pavlich and gave her her own primetime show. (The network had already hired a slew of former Fox journalists as well.) Around this time, a political group called Keep News Local began airing ads in DC that seemed to directly address Trump, praising him for having “defeated the fake news monopolies before through independent voices and local news” and claiming that the Nexstar-Tegna merger was “crucial for MAGA to survive.” (A little self-contradictory and mildly illogical, but it’s the kind of stuff that Trump likes to hear.) When I last spoke to Ruddy in February, I asked if he’d worried that the dark money going into Keep News Local would sway Trump, and he chose his words carefully: “I think at the end of the day, Trump makes up his own mind. I’m not sure he’s going to be influenced by an ad campaign.”
For months, no one could accurately predict if Trump would override Carr’s wishes and bless the deal, as he’s often done for other companies facing regulatory scrutiny. Trump’s Truth Social posts about the merger have been a good indicator of how precarious the merger has been and who’s been able to influence him at any given moment: Last November, he blasted the deal as an “EXPANSION OF THE FAKE NEWS NETWORKS,” but by February, he posted that the deal would “help knock out the Fake News because there will be more competition.”
Several current and former NewsNation employees told Status at the time that they feared that the parent company was steering NewsNation away from the centrist, “unbiased” reputation they’d long cultivated. “A lot of people within the network believe that the network has gone hard right to appeal to Trump and Brendan Carr,” one former employee told Status. Coincidentally, days before the deal was finalized, NewsNation began ramping up its explicitly pro-Trump content, tweeting a clip of CNN’s Kaitlan Collins being berated by White House press secretary Karoline Leavitt, along with the comment “Just going to leave this here.”
When Trump greenlit the merger in mid-March, but before the FCC’s three commissioners could vote on whether to waive the ownership cap, Nexstar and Tegna immediately announced a new complication: Tegna and Nexstar had already started merging. Tegna was no more and CEO Mike Steib had already sold $22.6 million of his company stock.
In response, eight state attorneys general and satellite TV operator DirectTV, which had already been planning to file separate federal antitrust suits against the merger, asked US District Judge Troy Nunley in Sacramento for an emergency restraining order that would prevent Nexstar from taking over Tegna’s assets. The order was granted on March 27th and on April 17, Nunley issued a formal injunction, ruling that Tegna must be operated as an independent financial entity, and Nexstar must take steps to ensure it remains separate from Tegna before further legal proceedings.
For now, Nunley has allowed the states and DirecTV to combine their cases, in which both argue that the merger was a clear violation of antitrust laws and would crush news competition.
Meanwhile, Republicans and Democrats in Congress are furious at Carr. On March 30th, Sens. Ted Cruz (R-TX) and Maria Cantwell (D-WA) sent the chairman a joint letter admonishing him for allowing his staff to waive the regulations to let the merger pass, instead of having the full commission of political appointees — one from the Biden administration — vote on it. “Under these circumstances,” they wrote, “any subsequent vote risks being largely procedural rather than a genuine exercise of commission responsibility.” They also pointed out that their hasty approval without the commission’s approval would now complicate the merger financially: “In a transaction of this scale, where integration proceeds quickly and unwinding becomes impractical, delay in judicial review can insulate the decision from meaningful challenge.” Notably, though they share similar ideological views on the media and deregulation, Cruz and Carr have frequently clashed over how to achieve their objectives. Cruz previously slammed Carr as a “mafioso,” for instance, for the way he’d used the FCC to silence Kimmel.
But even if it’s legally paused, the journalistic merger’s fallout has started to hit local news. NPR’s David Folkenfirk reported on Tuesday that Tegna journalists had already started receiving orders to stop broadcasting content from major broadcasters like ABC, CBS, and NBC — media outlets being targeted by Carr — and instead begin airing content from Nexstar’s NewsNation.
- Brendan Carr’s views on using the FCC to punish major broadcasters was outlined pretty extensively in the chapter he authored in Project 2025, an initiative led by the conservative Heritage Foundation on how to reform the federal bureaucracy to be more favorable to the American right.
- Exactly how much is local television losing to digital? According to industry publication NewscastStudio, in an investor call defending the purchase, Nexstar chairman Perry Sook cited a market research study from Borrell Associates, which found that “digital advertising in local markets exceeds $100 billion, compared to just $25 billion for local linear television advertising, with nearly two-thirds of digital ad dollars flowing to five major technology companies.”
- If you want to see exactly how much Keep Local News was trying to suck up to Trump, the ads are archived here.
- The Vergecast has a long-running segment called “Brendan Carr is a dummy.”
- The LA Times reported on last week’s preliminary hearings in front of Nunley, and how lawyers for Nexstar, the states, and DirecTV plan to argue their case.
- The Desk has insights from Kirk Varner, a former TV newsroom director, on how the case could go.
- Andrew Liptak covered Nexstar’s previous acquisition sprees for The Verge in 2018.
- Adi Robertson walks through exactly how the Kimmel suspension was an attack on free speech.
- Brendan Carr keeps trying to convince people that he’s not threatening to suspend broadcast licenses for reporting on unfavorable things like the Iran war, reports Lauren Feiner.
- The Vergecast has a long-running segment called “Brendan Carr is a dummy.”
Technology
Chinese robot breaks human world record in Beijing half-marathon
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A Chinese-built humanoid robot beat the human half-marathon world record in Beijing on Sunday, marking a breakthrough moment in a high-stakes global race for technological dominance.
A robot developed by Chinese smartphone maker Honor completed the 21-kilometer (13-mile) race in 50 minutes and 26 seconds, beating the human record of about 57 minutes set by Uganda’s Jacob Kiplimo last month.
The performance marked a dramatic improvement from last year’s inaugural event, when the top robot finished in more than 2 hours and 40 minutes.
Dozens of humanoid robots competed alongside about 12,000 human runners, navigating a parallel course to avoid collisions.
CHINA’S COMPACT HUMANOID ROBOT SHOWS OFF BALANCE AND FLIPS
A robot crosses the finish line in the Beijing E-Town Half Marathon and Humanoid Robot Half-Marathon held in the outskirts of Beijing on April 19, 2026. (Andy Wong/AP)
Nearly half of the robots ran using autonomous navigation, while others relied on remote control, organizers said.
Despite the breakthrough, the race still saw glitches, with some robots stumbling at the start or veering into barriers.
Engineers said the winning robot was designed to mimic elite athletes, featuring long legs of about 37 inches and advanced cooling systems to sustain performance.
US TARGETS CHINESE ROBOTS OVER SECURITY FEARS
“Looking ahead, some of these technologies might be transferred to other areas,” said Du Xiaodi, an engineer with the Honor team. “For example, structural reliability and liquid-cooling technology could be applied in future industrial scenarios.”
Team members celebrate next to the winning Honor Lightning humanoid robot during a medal ceremony after the second Beijing E-Town Half Marathon and Humanoid Robot Half Marathon in Beijing, China, on April 19, 2026. (Maxim Shemetov/Reuters)
Spectators reacted with a mix of amazement and unease at the machines’ rapid progress.
“It’s the first time robots have surpassed humans, and that’s something I never imagined,” Sun Zhigang, who attended the event with his son, told The Associated Press.
HUMANOID ROBOTS HIT MASS PRODUCTION IN CHINA
“The robots’ speed far exceeds that of humans,” spectator Wang Wen told the outlet. “This may signal the arrival of sort of a new era.”
A robot starts alongside human runners at the Beijing E-Town Half Marathon and Humanoid Half Marathon on the outskirts of Beijing on April 19, 2026. (Ng Han Guan/AP)
Experts say the race highlights China’s accelerating push to dominate robotics and artificial intelligence, even as widespread commercial use of humanoid robots remains limited, according to Reuters. The experts said Chinese robotics firms are still working to develop the AI software needed for humanoids to match the efficiency of human factory workers.
Runners take pictures of a humanoid robot during the second Beijing E-Town Half Marathon and Humanoid Robot Half Marathon in Beijing on April 19, 2026. (Haruna Furuhashi/Pool Photo via AP)
“The future will definitely be an AI era,” engineering student Chu Tianqi told Reuters. “If people don’t know how to use AI now … they will definitely become obsolete.”
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The competition underscores a broader technological race between China and the United States, as Beijing invests heavily in advanced robotics as part of its long-term economic strategy.
The Associated Press and Reuters contributed to this report.
Technology
The RAM shortage could last years
According to Nikkei Asia, even as suppliers ramp up DRAM production, manufacturers are only expected to meet 60 percent of demand by the end of 2027. SK Group chairman has even said that shortages could last until 2030.
The world’s largest memory makers — Samsung, SK Hynix, and Micron — are all working to add new fabrication capacity, but almost none of it will be online until at least 2027, if not 2028. SK opened a fab in Cheongju in February, but that is the only increase in production among the three for 2026.
Nikkei says that production would need to increase by 12 percent a year in 2026 and 2027 to meet demand. But according to Counterpoint Research, an increase of only 7.5 percent is planned.
The new facilities will primarily focus on producing high-bandwidth memory (HBM), which is used in AI data centers. With the companies already prioritizing HBM over general-purpose DRAM used in computers and phones, it’s not clear how much these new fabs will help alleviate the price crunch facing consumer electronics. Everything from phones and laptops, to VR headsets and gaming handhelds have seen price increases due to the RAM shortage.
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