NextGen Entertainment is Here Now with Tec Leimert Exec Director Paris McCoy

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KBLA Talk fifteen eighty Happy Solo Return the Heavenly One
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to the Great Marvin Gay still sounds so good. Let's
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just let's just talent. That's just talent, talent, talent, all right,
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it's time to talk tech and we are getting to that.
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I'm happy to have now regular segment we'll hear regularly
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on this show from tech Lamurder. It's part of our
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think tank Thursday initiative to think a little bit more
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about all things that are changing around us, from the
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standpoint of everything from AI to computers to just the
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day to day ways that all of these things impact
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our lives. We're being joined now by a creative producer
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and director of photography. She's worked in the entertainment industry,
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arts design, creative producer, seeing digital marketing and production management,
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art direction, and film and TV production. Paris McCoy, Good.
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Morning, good morning. How are you.
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I'm blessed. How are you doing.
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I'm doing doing good.
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It's good.
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It's a good morning. It's a Thursday morning. We're moving
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and grooving. We're already in action over here at Techomerk.
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Okay, yeah, I know you guys work on a lot
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of things. You get a lot of things done. You are,
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of course the executive director over there. And one of
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the things that people talk a lot about lately when
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it comes to tech as job opportunities. Oh, I'm scared,
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I'm going to lose my job to AI. Everyone's losing
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their jobs to AI. The future is this? The future?
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Is that I find most of the time when we
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make these predictions, we turn out to be wrong, whatever
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it is from Y two k to now. But I
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do think that whether it's through AI or software or
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coding or innovative design, the entertainment business does have a
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lot of job opportunities and career paths emerging that involved tech.
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Does it not?
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It does? It does? When we talk about like the
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independent the independent creative technology has a lot of tech
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tools have affoarded a lot of independent creators to you know,
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really forge their own their own road to jobs and projects,
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et cetera.
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Right, because you can do more with a little staff,
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which is the story of Black America, not just an
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entertainment and everything turning a dollar and you know, fifteen
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cents into a dollar and on and on it goes.
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But so as a small creator, you can do more
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with less, using tools like AI using software. But I'm
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also referencing the seemingly affordability proof gaming industry.
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Yes, there's the there's a lot of a lot of
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spaces in the gaming space where artists are able to cross,
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you know, cross different paths of like their artistry. So like,
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for example, then artists can be an independent music artist,
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but then they also can like roll into gaming, et cetera.
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So there's like a lot of ways that creatives can
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diversify their portfolio, et cetera, right.
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And diversify their portfolio as artists. But also if you're
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thinking about, like how do I what are the jobs
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of the future, it seems like ever since my child
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was little, which is twenty years ago, well when he
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was not when he was bay, I should say, probably
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fifteen years ago, when he was old enough to think
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about game, that's been pretty steady. Even as the technology changes,
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this idea of the gamification of everything and the entertainment
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value of tech has been steady.
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Absolutely, it has been. It has been steady. Uh, you know,
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technology and entertainment have gone hand in hand. Even when
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we're talking about different ways that the film industry has
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been advanced in ways that people are able to find
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jobs through technology and different ways of doing things. But yes,
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like technology has always advanced to the music entertainment industry
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and has always given people in the entertainment industry a
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way to uh to pivot, to pivot in what they're
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doing in their careers.
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Yep, and so, and this is the land of uh,
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the entertainment industry and the land of pivoting if you
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talk about the West Coast. But I know this is
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also relevant whether now we have the entertainment industry even
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more spread out, with television production and film production taking
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place in Atlanta and Vancouver and New Mexico. And whoever
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is willing to give a tax break or whoever is
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willing to bust a union, they're migrating. They're migrating there.
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But what about all the you know, of course creators
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and and we're going to talk about that, because you
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guys have a project out now that's highlighting some producers
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here in Los Angeles, But even below the line, what
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about you know, people that are not necessarily the rapper,
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the producer, the actor, the director, people who are more
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behind the scenes. Are the opportunities still there or is
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it just AI's world now?
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It's definitely not AI's world. I think the last time
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that we talked there definitely brought up some conversation around, uh,
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the development of what agentic AI is an agent agentic
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AI is designed to, you know, use AI as like
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a coworker, right to help like the independent, or to
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help someone uh expand expand what they can do. I
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know that it is a touchy, very very touchy and
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complex conversation about AI right now in the workplace, seeing
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is how we just had like a massive layoff yesterday
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in the Oracle. So there's there's like that was that
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was thirty thousands in jobs, I believe gone. So like
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there's a lot that's going on and a lot of
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conversations to be had as far as like how AI
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is impacting the workplace. So there's there's that. So it's
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it's not fully an AI's world, but you know there's
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a lot to be discussed around that, right. But I
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also think that there's like behind the scenes, you know,
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there's still jobs and opportunities when it comes to the
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entertainment space, and like that's a part of what tech
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emerg puts a lot of energy and of skilling into
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because we want people to understand that there is space
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there and these tech tools, these tools in the background
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allow for them to find those jobs behind the scenes
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when you're not just the creatives. So like, for instance,
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I spoke to a woman yesterday who works at Disney
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really you know, very very intelligent, but she does a
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lot of their data and their data analytics, and she
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uses a lot of tech tools and like CRM tools
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to go through their data and it goes way beyond
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what I'm talking about, because they have massive and massive
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amounts of data. But that's all like a tech job.
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She started it out in tech. So there are spaces
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in places that not just like the forward facing, front
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facing creative where you can utilize these tech tools and
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be in the in the entertainment industry still, for instance,
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like with marketing. You know, like that woman that I
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spoke to, she is in the marketing space, but she's
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dealing with a lot of their data. So there's some
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interesting ways that you could like pivot and figure out
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and find spaces within the entertainment industry that's not necessarily
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like in front of the camera, et cetera.
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Yeah, and which are not necessarily going obsolete. I mean,
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what I took away from Oracle, and please correct me
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if I'm wrong, because I don't pretend to be a
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tech expert. Is that they're saying. What they're saying is
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they're moving away from software because AI is replacing a
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lot of this software just not just humans that's replacing,
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and they're moving their investment or their focus over to
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artificial intelligence.
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Well, in my opinion, AI is software and of itself,
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it's still a tool. It is a type of software,
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and it's designed to stimulate the behavior or the things
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that you're doing. So like you know, learning, reasoning, problem
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solving like AI. If you're not using AI in the
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workspace for those things, then you're, in my opinion, I
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think that you're massively misusing AI. But AI to me
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is still a type of software and you still need
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people to manage and utilize the software. So that that's
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where I think, like that's where the separation in my
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mind goes when it comes to like AI taking over.
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You still need humans to operate AI and to utilize
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AI and to still understand it. So we're not absolutely
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we're never going to be absolutely as human beings.
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Right, No, I wasn't. I wasn't trying to make that point.
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The point I was making that Oracle is saying, we're
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putting our money into artificial intelligence or our resources, we're
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gonna lay off all these people because supposedly they're more
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in the software area. But it, you know, it leaves
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up for me, it leaves a bad taste because you
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have all this money to buy all basically the entire
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US media landscape, but you don't have money to keep
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people working. And what it also made me start to
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think about is really maybe the reason they really want
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Warner Brothers and all of these media outlets is to
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get more and more material to train AI.
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That that you know, I can't speak on if that's
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actually going to happen or not happen. I mean Oracle.
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The reason, the reason that it'd been publicly expressed as
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to why Oracle laid off all of these people because
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they wanted to actually conserve money. It wasn't necessarily because
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these people that they laid off were more focused on
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software or working in the software space, or that's what
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they spent their entire career training on the real but
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the reason that it was reported that they laid off
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that amount of people because they wanted to conserve money.
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They wanted to put more money into data centers, and
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that's a whole different conversation. They wanted to find more
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ways to house the computation of the AI, not because
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those people who were doing software were obsolete. I think
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that when it comes to like the Warner Brothers and
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you know, zaslov is a is a word right now,
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when it comes to like all of these mergers and acquisitions,
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et cetera, you know, there's I can't fully say what
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was the full motivation behind that. In the entertainment industry,
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I don't know if it's because they want to train
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the AI on all of the the digital images and
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all the content that we have. I mean, they essentially
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own this content, so they can do that anyway. You know,
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Like I think that the real reason why these layoffs
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are have happening and these mergers are happening, you know,
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we won't We're not behind the corporate veil. We're not
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in the rooms when they're having these conversations. And I
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think that through investigative reporting down the line, we will
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find out what the real reason is behind these mass layoffs.
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I mean, if it's a reason behind if it's a
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reason beyond trying to like just buy land and build
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like larger and larger data centers, which has a whole
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other environmental context and impact. There could be deeper reasons
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beyond that, which we won't know immediately, but we will
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find out over time. And then in the entertainment industry,
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we'll see over time and time will tell us what
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they're training, like their AI systems on as far as
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like the imagery, et cetera.
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Yeah, I feel that. I do think though that they
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always say it's cost cutting, like that's the default. Every
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corporation ever that laid off a lot of employees, that's
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all they say. Oh, it's cost cut because that sounds good.
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We're cutting down on waste and fraud, wasted fraud, wasted fraud.
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Well they don't say fraud so much, but that's government.
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But in corporations they always say, we're tightening belts. We
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have a great new project coming out from you that
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we will hear about. Speaking of tech and the entertainment space,
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and there's lots more to unpack. The tech now is
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in every single aspect of our lives. Maybe I shouldn't
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say now it's been that way for a while, but
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it feels more that way than ever, with the tech
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tech barons moving into media, taking over studios, moving into
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weapons of war, and even our irs taxes. We are
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talking with Paris coy, executive director at tech Lamert. I'm
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Dominique Diaprima for KBLA talk fifteen to eighty. We've got
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We're talking with Paris McCoy, the executive director of tech Lamert,
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and Charles is on the phone. Mister Charles, known among
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the African Focus Trailblazers as number one.
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Good morning Charles, Good morning, Dominique, Good morning, Tavin smiling,
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Good morning Miles. I'm so happy. Today is my eighty
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first birthday sday.
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Birthday, same birthday as Marvin Gay. Happy birthday number.
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One, Yes, Marvin Day and Rodney King.
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Rodney King's b day also okay.
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Yes, and I had to play I met Marmy Gay's
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mom years ago cause my cousin used to term their
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trees and so forth. But anyway, it's a blessed day.
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And already listening to Kate and Kate always doing my
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When my mom passed three years ago at the cemetery,
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the man said, this is the plot to your mom's
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going to be in He said it was fifteen eighty.
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I said, oh, come on, Dave's a dominique in my
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fifteen eighty that's when my mom stopped.
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Rest in peace to your mama. Rest in peace to
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your mama. And Charles, I know you're a legendary cinematographer yourself.
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So you know, Paris McCoy and yourself in the same
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space as far as as far as the entertainment business
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and the work that you do through your camera lens.
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But yet you're eighty one and Paris, I believe, is
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a millennial, So two different ends of the same lens.
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Any words on that quickly, mister Charles.
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Number one, let me tell you real quick. Charles Burnette,
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the great tale maker director here and I go back
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to Freemount of High School. In nineteen sixty one, we
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did a movie called Killer of Sheep and it's in
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the National Film Registry, which is like the Hall of
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Fame in Washington, DC. Charles Rodey directed it and produced it.
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I acted off in it, and I'm also in the
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Hall of Fame as an ador the sound person. All right,
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all right, yeah, And then you know I had a
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five year one on Lou Grant where Ed Osler room actor.
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I did them every Talamore Comedies an hour, and I
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built the movie sets for Hook Contact Men and Brick
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girl Friends, Fraser Rating and Phobia and all that stuff.
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So life has really been good to me. I'm in
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song for over what fifty years now, and also in
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the gear for Billy movie set. So it's a blessing.
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I got in at the right time, I got out
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at the right time. I got great medical benefits thanks
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to you know, God and everything.
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But thanks to God in the Union. Well, Charles Bracy,
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happy birthday to you, Happy bett, ratulations on all your success.
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Paris McCrorie, you were going to jump in here.
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Yeah, I was gonna say, you know, I am an
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elder millennial and just really grateful to the work that
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Charles Brunette has done. And this Charles h Killer of
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Sheep is something that you know, when I first started
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learning film and it was just transitioning from like an
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analog practice to a digital practice. My my professors at
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Howard still gave me a copy of Killer of Sheep
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and so we we we used, we used the work,
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or we look at the work of the greats like
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Charles Brunette. And at that time when Charles Barnett was
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doing Killer of Sheep and that whole crew, that was
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a form of technology as well. They were really like
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really fit independent filmmakers figuring out and using the tools
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that they had to advance the medium and the art form.
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Yeah, it's it's interesting.
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I mean, I'm in digital space.
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Well, it's interesting to see this evolution. We've seen so
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much change, or I know I have during my lifetime.
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When I started at karn TV as on camera talent
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and I grew into being a producer writer there, we
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were still filming on We were shooting on three quarter
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inch the quarter in State and then we went to
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Betacam and you know then by the time I left,
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they were moving toward digital. But the man that was
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shooting my Dick Williams, my original photographer videographer, started on
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television shooting TV news on film. Right, So all of
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that has happened within the course of one lifetime and
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here we are are all digital and it's it's but
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what I'm getting, what I'm hearing you say is even
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mister Charles Bracy's work that he did with mister Charles
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Brunette on the Killer of Sheep is being used to
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change to train the real intelligence is just folks like yourself.
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Absolutely, it's it's to train the human intelligence. Because one
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thing that we we talk about all the time at
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Techlamer and then we want to keep clear is that
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human intelligence reigns supreme. We work with the technology we
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figure and technology working with the technology in our art
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in all the art forms is how we come up
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with innovation. Like we're using technology to solve problems, to
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solve creative problems in entertainment, so it's not like the
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analogue way of doing things Like that's still very very
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vital and valuable to us because it's training our brain
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to understand like the true art form and the true
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art practice of a of a medium like film or
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music and so forth and so on, and it's it's
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really true storytelling. Like that's still what's really important.
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Yeah, I think that's right. I always say, if you're
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boring in real life, you'll be boring on Facebook, You'll
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be boring.
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And she's like, be interesting, Like with everything that you do,
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be interesting, and don't do things just for shock value,
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but be interesting, so constantly like that that's the analog
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practice is you know, you've got to be interesting. You can't.
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You can't tell a story just off of like technology skills,
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you know.
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Yeah, agreed. We we only have a minute here until news,
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traffic and sports. But look quickly, let's go to Rashidi
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calling us from La Hi.
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Rashidi, Hey ladies, good morning. How you doing. I'm loving
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this conversation, so I had to call in and uh
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and chime in here. So as you know, I'm a
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member of tech Lamert and I want to thank you
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Dominique for giving tech Lamert the platform to talk about
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technology in our community. Is it is so needed and appreciated.
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And I wanted to to thank Paris, you know, as
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the executive director of Techlomert. You know it was important
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to see a black woman and technologists in his position,
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and I just wanted to applaud her and her work.
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But I was inspired to call in because you guys
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were talking about something that that really struck a chord
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with me and Dominiquo is run your question and I
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just want to kind of uh, you know, put this
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out there. Like in tech and with with Oracle, like
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software engineers are are becoming obsolete in the sense that
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you know, tech is ai is coding itself, right, and
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so what was a high you know demand field of
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software engineering to to code is now becoming something that's
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that's less in demand, and so you see companies kind
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of scaling back. Now. I just wanted Paris to kind
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of maybe talk about a highlight why tech Lamertz kind
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of premise of that intersection of tech and create ti
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vity sits outside of something like that, and why it's
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important for our community.
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What a perfect setup. We've got news traffic in sports
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and we're gonna hear some of the latest creative juices,
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some of the latest creative music coming out of tech
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lamert and talk about exactly what Rashidi teed up. That's
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all straight ahead on KBLA Talk fifteen eighty four. Legg
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Day by ant Walker is the song what is that?
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It's the tech lamert drop. Their audio effects series Beat
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Tape Volume two is here right now with thirteen emerging
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producers from LA's beat community. They were picked from over
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eighty producers and they were handpicked by DJ Battlecat Wow,
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ant Walker, Nino Bay, Janka, Chase Flow, Gauge, b Khalif,
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DJ Mike Nomad two eighty Coy, Cadens, pres Dot, Morris,
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alf Alpha, Serjazz and Yara, Uh take it away, McCoy,
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uh ms Paris McCoy. What what are we hearing? And
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what is the purpose of this?
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Oh yeah, that's some that's our Audio Effect D tape
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Volume two And it was a very wonderful journey with
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our music technology program spearheaded by our director of Music
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Tech UH Camille Ill Camille Davis, who's been working with
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our producers for the second the second time in the row.
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This is our second D tape we've done, Uh, we've
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done We've done volume one. So it's been a definitely
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a proud moment for tech lamer to be able to
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press this vinyl. And it's a perfect example of how technology,
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how digital analog meet. And you know, one of the
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main reasons, like what reasons is why tech lamert does
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what it does is to bridge is to bridge that gap,
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that that technology gap, and to create resources for artists
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to utilize technology to move their their artistry forward.
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And it says they shaped and they shaped the ideas
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using Serato studio sample and x x F X. So
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I guess I'm guessing that this is where the technology
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part comes into this particular project.
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Absolutely. Absolutely. Serrato is a is a tech company actually
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and it's a software development company and they develop a
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lot of software for DJ's producers, et cetera. This is
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their version of a DAH, which is you know, digital
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music music making interfaces. And so we've been working with
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Serato since I believe twenty twenty three and this a
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part of this and these are these b tapes have
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come out of that process. One of the interesting things
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is is that like when we when our producers engage
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in the program and the audio Efect program, they're really
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using these tools. They're doing a form of R and
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D with Soerrado to make sure that their their tech,
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their technology software and their tech tools for music are
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up today and they are of industry standards. So our
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producers have a lot of weight in a lot of
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knowledge of you know, to share and to get and
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to gain from Serrato as well as to how like
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you know, technology can really intersect with the the interface
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of music making.
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So how does this I mean you say one of
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the missions I guess of Teklamert. You guys have a
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lot of missions, right and we should probably talk more
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and more specifically about what some of those are. But
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putting the spotlight on producers, producers of color, black, Latino,
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UH and others who are emerging, how does that you know,
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what do you hope to come from that? And and
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why is that important? Because one of the things that
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I've noticed, just like ever since UH, television and film
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production went digital, ever since even before that, music went digital,
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everybody's a producer, everybody's a director, everybody's a creator. So
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why is it important to spotlight certain talents here?
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Well, that goes back to like we tech themer does
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have a lot of missions, but we have one main mission,
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and that is to amplify work through upskill at the
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intersection of creativity and tech. You know, when things become digital,
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this is just the example with filmmaking, with music, et cetera.
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When things become digital and these tools become available to everyone,
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that's when the storytelling piece becomes becomes an amplification. Meaning
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as in like as we talked about earlier, if you're
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boring and you can't tell a story, it doesn't matter
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how many tech tools you have, It doesn't matter how
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many analog tools you have. If you don't know your craft,
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if you don't have that human intelligence, then your your
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work is not gonna it's not gonna land with your audience. Right,
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So we definitely want to make sure that our main
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mission is amplified, and that is understand how to use
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these tools to amplify your creativity, to amplify your storytelling,
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to amplify how you will remain in the workforce with
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UH with technology. Again, like I can't express that enough,
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is that all of the tech is tools. You train
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on the tools, you learn the tools, and and you
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have a tool belt. You have a literal tool belt,
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and you can say, hey, I want to use I
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want to use Tuno for to amplify like my background vocals,
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or to amplify like this guitar riff that I want
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to use in my beat that I already created in
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the analog space, but I want to do some different
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things to it. I want to expand my thoughts on
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how to like how to how to how to reproduce
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this particular guitar risk. Then that's how I'll use the
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AI or the technology or any other technology platform or tool,
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not just in the AI space. So like we really,
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we really show creative and we really want to work
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with creatives to understand how to use technology within their
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creative process. But you own the creative process like the
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human owns the creative process, and these tools and technology
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supports that.
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I was talking to someone who I won't disclose their
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name because I'm not at liberty to do so. But
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you know, well, no, it's not a no oh they were.
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They were kind of a well known artist, and I
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just don't like putting people's business on the street without permission.
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You know, I'm the opposite of Wendy Williams. Let me
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put it that way. It's just that they were saying that,
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you know, the tech that they their engineer suggested that
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they use AI and ask AI to give them a
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version of themselves doing a song. In other words, imagine
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your Aretha Franklin. I'll use that example because everyone knows
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it ain't her. And you say, hey, whatever, Claude or whatever,
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give me a an Aretha Franklin style song with the
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following and that that came back and the artist was
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telling me that they found it silly, and they found
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it but silly and a low bar, you know, as
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far as the quality level. But again in Miles always
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says this because he uses AI a lot, that it's
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all about the quality of what you put in and
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how you actually prepare the technology to deliver what you want.
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That we're not relying on it for content as much
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as structure.
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Exactly. That's that's exactly the standpoint that I personally take,
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and a lot of people that are in the creative
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space in different mediums talk about using it. You know,
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it's all about your intention and how you want to
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use it. That artist particularly didn't feel comfortable using AI,
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and they did. They didn't like it. They didn't like
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the idea of it, and that's fine, but that's a choice.
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That's a choice that I.
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Don't think they didn't like the idea. I think they
480
00:30:40.599 --> 00:30:41.880
didn't like what came back.
481
00:30:43.599 --> 00:30:44.720
I think they didn't like what.
482
00:30:45.319 --> 00:30:47.200
They didn't like what came back. They said it was
483
00:30:47.240 --> 00:30:49.920
silly and it had a low bar. But I but
484
00:30:50.079 --> 00:30:52.400
so that's why I was pointing out what Miles always
485
00:30:52.440 --> 00:30:54.759
tells me, well, garbage in, garbage.
486
00:30:54.440 --> 00:30:59.440
Out, quality of it, right, But that again, that's all
487
00:30:59.480 --> 00:31:02.559
in how the person utilizes the tool of AI. Like
488
00:31:02.880 --> 00:31:05.359
maybe they didn't prompt it right or I don't know
489
00:31:05.400 --> 00:31:08.039
what they did, but there was there's a lot of
490
00:31:08.039 --> 00:31:10.559
efforts that you the person have to put into the
491
00:31:10.599 --> 00:31:14.400
AI to get what you want back. That's quality because
492
00:31:14.440 --> 00:31:17.039
AI can give you a lot of like you know,
493
00:31:17.079 --> 00:31:19.440
for lack of a better word, junk, But it really
494
00:31:19.559 --> 00:31:22.400
is how you work with the technology. And so like
495
00:31:22.440 --> 00:31:24.599
that's what you know at Techamerk when we talk about
496
00:31:24.640 --> 00:31:27.119
like how do you work with this technology to get
497
00:31:27.119 --> 00:31:30.000
what you want back? I mean that was junk for
498
00:31:30.559 --> 00:31:33.039
that particular artist because they didn't like what came back
499
00:31:33.079 --> 00:31:35.960
and came out. But there's a lot of artists who
500
00:31:36.319 --> 00:31:40.799
use different forms of AI technology and music and they
501
00:31:40.799 --> 00:31:43.559
do like what they get back. They actually work with it,
502
00:31:43.599 --> 00:31:46.400
and so like that skill set of again, like how
503
00:31:46.440 --> 00:31:49.160
do you work with the AI tool? How do you
504
00:31:49.240 --> 00:31:53.400
layer that into your creativity? And you can't rely completely
505
00:31:53.480 --> 00:31:57.039
on AI to be your creative engine. You just can't
506
00:31:57.039 --> 00:31:58.839
do that. So when you do that, and when you
507
00:31:58.880 --> 00:32:01.640
rely on it too much, you will get junk back
508
00:32:01.680 --> 00:32:03.880
because there's a I mean, AI hallucinates. There's a lot
509
00:32:03.920 --> 00:32:07.039
of things that come out of AI software that's just
510
00:32:07.200 --> 00:32:11.480
not good. But it's really how you make it good
511
00:32:11.480 --> 00:32:14.400
and how you make it good for what your project is,
512
00:32:14.880 --> 00:32:17.079
so that that's the kind of a delineation that we
513
00:32:17.119 --> 00:32:19.559
want we want to talk about as far as like,
514
00:32:19.799 --> 00:32:23.359
you know, don't rely on these tools too much. You know,
515
00:32:23.480 --> 00:32:26.400
I use AAI a lot for research, you know, a
516
00:32:26.440 --> 00:32:30.119
lot of deep research research that I couldn't do in
517
00:32:30.279 --> 00:32:33.920
like five minutes or even like five hours. You know,
518
00:32:34.000 --> 00:32:35.960
Like there was a producer that I know that took
519
00:32:36.200 --> 00:32:40.000
that one to pull some video from all the TED talks.
520
00:32:40.240 --> 00:32:43.640
So they and they were working with TED as a
521
00:32:43.720 --> 00:32:46.160
the TED with their client to create like a little
522
00:32:46.400 --> 00:32:51.400
commercial spot. They used AI to deep research every single
523
00:32:51.599 --> 00:32:54.880
TED video that was available to them to come up
524
00:32:54.920 --> 00:32:58.440
with some like like some through lines and some clear
525
00:32:58.559 --> 00:33:01.960
topics from all all of these TED talks. That's what
526
00:33:02.039 --> 00:33:03.720
AI is really great for, right.
527
00:33:03.759 --> 00:33:06.720
But when you say research, you're not talking about using
528
00:33:06.720 --> 00:33:09.799
it as a Google searcher because of the hallucination. I mean,
529
00:33:09.799 --> 00:33:12.960
I'm that likely that's not what you mean by research.
530
00:33:14.079 --> 00:33:15.599
No, no, no, I mean, like you know, when you're
531
00:33:15.599 --> 00:33:19.759
talking with like particular AI things like for instance, perplexity,
532
00:33:20.359 --> 00:33:22.799
and you get into a deep conversation, you still have
533
00:33:22.920 --> 00:33:25.640
to know fact check what AI gives back to you.
534
00:33:25.960 --> 00:33:29.119
We're talking about utilizing AI to be like your eyes
535
00:33:29.680 --> 00:33:34.440
on like thousands and thousands of like research tools or
536
00:33:34.480 --> 00:33:37.680
topics or like, you know, different different things, Like it
537
00:33:37.720 --> 00:33:40.519
does deep research, but it's but when when it kicks
538
00:33:40.559 --> 00:33:43.880
back answers to you, you still have to be knowledgeable
539
00:33:44.160 --> 00:33:46.559
enough of the subject to be able to read with
540
00:33:46.640 --> 00:33:49.359
the AI and really and really understand and make sure
541
00:33:49.400 --> 00:33:52.839
that it's not hallucinating, that it's giving you back some facts.
542
00:33:55.000 --> 00:33:58.559
Well, well said. So what's the next step for this project,
543
00:33:58.559 --> 00:34:05.039
this Techlamert Audio Effects series, Uh, these producers, this art.
544
00:34:05.279 --> 00:34:07.079
What will happen to it next?
545
00:34:08.360 --> 00:34:13.760
Well, it will it will serve as a community creative
546
00:34:13.880 --> 00:34:17.679
project that has been built and designed by the community.
547
00:34:17.800 --> 00:34:20.639
Like you know, the Audio Effect has some really uh
548
00:34:21.679 --> 00:34:24.920
really wonderful musical connections to it. Like some of our
549
00:34:24.920 --> 00:34:28.800
instructors was down from like True Sound, who's always in
550
00:34:28.840 --> 00:34:31.559
the Lamart Park in the community space, Lena Furnie, She
551
00:34:31.639 --> 00:34:34.880
was one of our instructors. Some of these producers are
552
00:34:34.920 --> 00:34:37.519
home bread and we want to make sure that the
553
00:34:37.599 --> 00:34:43.039
Audio Effect remains a place where music producers artists can
554
00:34:43.519 --> 00:34:47.599
talk about, uh their art and then expand it within
555
00:34:47.679 --> 00:34:50.840
the in the spaces of technology one of the things
556
00:34:50.840 --> 00:34:53.880
that like, you know, the producers, the producers and our
557
00:34:53.920 --> 00:34:57.400
director of music Technology, they all like it's a community.
558
00:34:57.639 --> 00:35:03.679
They connect, they talk, they do things outside of this album.
559
00:35:03.719 --> 00:35:07.000
Because this album has created a community, they're going to
560
00:35:07.039 --> 00:35:09.679
be doing things for four or four day, which if
561
00:35:09.679 --> 00:35:13.480
you know anything about music and beat making and technology,
562
00:35:13.599 --> 00:35:15.800
you know that's the sp four or four. It has
563
00:35:15.840 --> 00:35:18.840
its own day where people like, we're beat makers all
564
00:35:18.880 --> 00:35:24.800
around the world celebrate this device that is technology based
565
00:35:25.119 --> 00:35:29.000
that revolutionize beat making and sound and sound making in
566
00:35:29.039 --> 00:35:31.360
the music industry. So they're all going to be connecting
567
00:35:31.400 --> 00:35:33.719
and doing that. And we're looking at our next season
568
00:35:33.800 --> 00:35:36.760
of the Audio Effects. We're really working on behind the
569
00:35:36.760 --> 00:35:38.719
scenes on what that's going to look like. We don't know.
570
00:35:38.800 --> 00:35:40.880
It might be a volume three, it might be a
571
00:35:40.920 --> 00:35:45.119
different form of a music media projects, but we're working
572
00:35:45.159 --> 00:35:47.400
on the background on what's going to be next for
573
00:35:47.440 --> 00:35:48.280
the Audio Effect.
574
00:35:48.679 --> 00:35:52.400
Talking with Paris McCoy, executive director of tech Lamert will
575
00:35:52.400 --> 00:35:56.519
continue the conversation when we come forward on KBLA Talk
576
00:35:56.599 --> 00:35:59.960
fifteen to eighty. We are talking with Paris McCoy, executive
577
00:36:00.159 --> 00:36:06.119
director of tech Lamert, and we are starting to see
578
00:36:06.880 --> 00:36:10.320
you mentioned Oracle, but there are others. We're starting to
579
00:36:10.360 --> 00:36:15.880
see those layoffs hit the entertainment industry, and we're starting
580
00:36:15.880 --> 00:36:18.760
to see them hit the tech industry. And one of
581
00:36:18.800 --> 00:36:23.960
the things one analysis that I was reading seem to
582
00:36:24.440 --> 00:36:29.159
conclude that a lot of these layoffs are not really
583
00:36:30.119 --> 00:36:35.119
cost cutting, they're not even really they're not even really software.
584
00:36:35.320 --> 00:36:41.800
They're meant to justify the massive investment in AI. And
585
00:36:41.880 --> 00:36:44.320
you mentioned in the data centers, which is a whole
586
00:36:44.320 --> 00:36:49.039
other show maybe for another day. But because these ginormous
587
00:36:49.960 --> 00:36:54.000
corporate behemoths have spent so much money and so much
588
00:36:54.320 --> 00:36:58.400
of the planet's resources on AI, it's almost like they
589
00:36:58.480 --> 00:37:01.000
have to push it. Whether it's it's good and lives
590
00:37:01.079 --> 00:37:02.639
up to everything they say it will do.
591
00:37:02.840 --> 00:37:09.679
Or not, they do have to push it because you know,
592
00:37:09.880 --> 00:37:14.199
this is where. This is where we're headed as this
593
00:37:14.239 --> 00:37:16.719
is where we are. It's not even about heading somewhere.
594
00:37:17.079 --> 00:37:21.840
This is where we are overall as a society. Uh
595
00:37:21.920 --> 00:37:25.840
on where and they where we're using technology? AI is
596
00:37:25.880 --> 00:37:28.840
not going anywhere? And I think I said this like
597
00:37:28.880 --> 00:37:31.760
the last call that we had, you know, uh there
598
00:37:31.920 --> 00:37:34.559
was I mean, I'm in this class with some people
599
00:37:34.960 --> 00:37:38.559
and we're building a AI agent, and we're deep diving
600
00:37:38.920 --> 00:37:41.559
into the ethical use as far as like what we
601
00:37:41.639 --> 00:37:45.679
have control over over on our end. And someone in
602
00:37:45.840 --> 00:37:48.320
the class apt you know, when do we turn Can
603
00:37:48.320 --> 00:37:50.960
we just turn it off? Can we just split the
604
00:37:51.000 --> 00:37:55.159
switch off? And the quote and they asked someone who
605
00:37:55.360 --> 00:37:59.320
actually is We had a guest speaker and it was
606
00:37:59.360 --> 00:38:04.800
a actually a large figure in open AI, and they
607
00:38:04.840 --> 00:38:06.719
ask can we turn it off? And the answer was
608
00:38:06.840 --> 00:38:11.400
we're resounding no, this cannot be turned off. It's it's
609
00:38:11.440 --> 00:38:14.400
we're beyond that point. We're past that point. And that's
610
00:38:14.440 --> 00:38:18.400
not to fear monger anyone, but it is a very
611
00:38:18.519 --> 00:38:23.079
reality that it's something that if we have to learn
612
00:38:23.159 --> 00:38:25.400
and we have to figure out our guardrails on how
613
00:38:25.400 --> 00:38:28.800
we're going to interact with it. So like yes, they
614
00:38:28.840 --> 00:38:33.519
whatever investment, whether AI works or not, it's working, but
615
00:38:33.679 --> 00:38:37.159
it's working for who, and it's working in what manner?
616
00:38:37.480 --> 00:38:39.280
You know, we talk about AI for good, we talk
617
00:38:39.280 --> 00:38:44.280
about technology for good that still has weight and there's
618
00:38:44.280 --> 00:38:48.480
still conversation around it. But you know, it's not it's
619
00:38:48.519 --> 00:38:50.719
not being turned off. I mean not going anywhere to
620
00:38:51.000 --> 00:38:51.400
I mean I.
621
00:38:51.440 --> 00:38:54.360
Understand that can you turn it off? You can you
622
00:38:54.440 --> 00:38:57.679
unplug it well, you know, if they ruin the planet
623
00:38:57.800 --> 00:39:00.519
or we run out of energy, it's how it run.
624
00:39:03.360 --> 00:39:06.400
Well, how will we run if we run out of energy?
625
00:39:06.679 --> 00:39:10.400
How will we run in our country? Sure, but it's
626
00:39:10.519 --> 00:39:14.599
running very well in other spaces, in other places. So
627
00:39:15.039 --> 00:39:16.559
if in our country it's like this.
628
00:39:16.719 --> 00:39:19.280
You know, when I say run out of country of energy,
629
00:39:19.400 --> 00:39:22.679
I'm you know, I'm being sort of hyperbolic. But I'm
630
00:39:22.679 --> 00:39:24.920
not just talking about our country. I'm talking about the planet.
631
00:39:24.960 --> 00:39:27.719
I mean, data centers are all over the world. Morris
632
00:39:27.800 --> 00:39:29.599
is in the chat asking me, do we even need
633
00:39:29.679 --> 00:39:34.280
humans anymore? Does AI reproduce and from what I've read
634
00:39:34.320 --> 00:39:36.960
that now it can replicate itself.
635
00:39:39.280 --> 00:39:42.400
Yeah, it can replicate itself. Like that's where the agentic
636
00:39:42.480 --> 00:39:46.639
AI field is going. But we still need humans. Uh,
637
00:39:46.920 --> 00:39:50.960
there's still humans that need to manage the AI agents.
638
00:39:51.440 --> 00:39:54.599
I want to be at least my stance and my
639
00:39:55.199 --> 00:39:58.360
viewpoint is that humans are going to always be necessary.
640
00:39:58.639 --> 00:40:01.159
And if we run, if and if we run out
641
00:40:01.159 --> 00:40:06.119
of power and all of the earth is without electricity
642
00:40:06.719 --> 00:40:09.079
to run the AI, I think we have a much
643
00:40:09.119 --> 00:40:12.360
bigger problem than the AI, you know, like we're we're
644
00:40:12.400 --> 00:40:12.880
in the dark.
645
00:40:13.599 --> 00:40:16.519
I mean, yeah, we're Cuba right now. But my but
646
00:40:16.639 --> 00:40:20.199
my point was really about this idea that we can't
647
00:40:20.320 --> 00:40:25.039
unplug it. It needs energy, it needs power mm hmmm.
648
00:40:25.280 --> 00:40:28.239
And as long as as long as there's energy sources
649
00:40:28.320 --> 00:40:31.239
available on Earth, someone is And my point about that
650
00:40:31.400 --> 00:40:34.800
was that someone's going to keep it running. That's not us.
651
00:40:35.800 --> 00:40:38.079
So you know, as far as I say us, I'm
652
00:40:38.079 --> 00:40:41.719
talking about people who are not the large companies that
653
00:40:41.760 --> 00:40:44.559
are that are building this technology and pushing it forward.
654
00:40:44.880 --> 00:40:47.280
They're going to keep it running no matter what. They
655
00:40:47.800 --> 00:40:51.079
have to keep it running. So there's there's no turning
656
00:40:51.119 --> 00:40:53.480
it off in that in that sense, because AI is
657
00:40:53.519 --> 00:40:56.599
not just in the creative space. It's in every part
658
00:40:56.639 --> 00:41:00.559
of our lives, you know, from our medical systems to
659
00:41:00.719 --> 00:41:03.519
our food systems. I mean, you think about it, it's
660
00:41:03.800 --> 00:41:06.639
touched every single place of it. We're thinking about it
661
00:41:06.679 --> 00:41:11.480
from the workforce perspective of entertainment and technology. It's there
662
00:41:11.719 --> 00:41:16.199
because it came from technology, so it's amplified. But it's
663
00:41:16.199 --> 00:41:18.599
been all of our everyday lives and it's been in
664
00:41:18.639 --> 00:41:22.159
our everyday lives. We're just now talking about it. Masket.
665
00:41:22.280 --> 00:41:24.440
That's right. It crept up on us. We just got
666
00:41:24.440 --> 00:41:28.039
thirty seconds here Paris mccry remind us how to stay
667
00:41:28.079 --> 00:41:29.400
in touch with tech Lamert.
668
00:41:30.960 --> 00:41:33.880
Yeah, just find us on Instagram, you know. At tech
669
00:41:33.920 --> 00:41:38.400
Lamert on IG we're always we're ramping back up with
670
00:41:38.480 --> 00:41:41.000
a lot of programming, a lot of events, so we're
671
00:41:41.039 --> 00:41:43.880
working with small businesses, We're doing some programming in the
672
00:41:43.880 --> 00:41:46.159
civic space, so there's gonna be a lot of things
673
00:41:46.199 --> 00:41:49.199
that's going to be popping up on our IG with events.
674
00:41:49.199 --> 00:41:50.599
So stay in touch with us there.
675
00:41:51.119 --> 00:41:54.840
Great, Thank you so much, Paris McCoy will look forward
676
00:41:54.880 --> 00:41:56.039
to doing it next month.
677
00:41:57.440 --> 00:41:59.679
Yeah, we got we actually have an episode coming up
678
00:41:59.719 --> 00:42:03.119
for Earth Day and that particular episode we're gonna have
679
00:42:03.199 --> 00:42:07.639
some guests there. So okay, we're talking about an offlining
680
00:42:07.679 --> 00:42:08.079
about her.
681
00:42:08.440 --> 00:42:11.519
Gotta leave it there. Tavis Smiley's up next. He's got
682
00:42:11.559 --> 00:42:14.079
a great show on deck where you don't forget to
683
00:42:14.119 --> 00:42:17.239
tap in with tech Lamert but also with KBLA fifteen
684
00:42:17.280 --> 00:42:21.280
eighty on all platforms and of course myself Duprima Radio.
685
00:42:21.920 --> 00:42:25.280
Like my father, the late Great Amari Baraka, used to say,
686
00:42:25.760 --> 00:42:28.760
a man is either free. A woman is either free
687
00:42:28.960 --> 00:42:32.039
or she is not free. There can be no apprenticeship
688
00:42:32.119 --> 00:42:37.519
for freedom. Until tomorrow KPLA delegation One Love