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Tag: condé nast

  • How AI Is Upending Politics, Tech, the Media, and More

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    In an increasingly divided world, one thing that everyone seems to agree on is that artificial intelligence is a hugely disruptive—and sometimes downright destructive—phenomenon.

    At WIRED’s AI Power Summit in New York on Monday, leaders from the worlds of tech, politics, and the media came together to discuss how AI is transforming their intertwined worlds. The Summit included voices from the AI industry, a current US senator and a former Trump administration official, and publishers including WIRED’s parent company, Condé Nast. You can view a livestream of the event in full below.

    Livestream: WIRED’s AI Power Summit

    “In journalism, many of us have been excited and worried about AI in equal measure,” said Anna Wintour, Condé Nast’s chief content officer and the global editorial director of Vogue, in her opening remarks. “We worry about it replacing our work, and the work of those we write about.”

    Leaders from the world of politics offered contrasting visions for ensuring AI has a positive impact overall. Richard Blumenthal, the Democratic senator from Connecticut, said policymakers should learn from social media and figure out suitable guardrails around copyright infringement and other key issues before AI causes too much damage. “We want to deal with the perfect storm that is engulfing journalism,” he said in conversation with WIRED global editorial director Katie Drummond.

    In a separate conversation, Dean Ball, a senior fellow at the Foundation for American Innovation and one of the authors of the Trump Administration’s AI Action Plan, defended that policy blueprint’s vision for AI regulation. He claimed that it introduced more rules around AI risks than any other government has produced.

    Figures from within the AI industry painted a rosy picture of AI’s impact, too, arguing that it will be a boon for economic growth and would not be deployed unchecked.

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    Will Knight

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  • Chloe Malle Named New Head of Editorial Content at U.S. Vogue

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    Malle will be taking over the role historically held by Anna Wintour, after her exit in June

    Anna Wintour at The Mark
    Credit: BFA

    Effective immediately, Chloe Malle has been named the new head of editorial content at U.S. Vogue, leading the creative and editorial direction of the publication. Malle will join the ranks of Vogue’s 10 existing Heads of Editorial Content around the globe, all reporting to Anna Wintour.

    The news was announced via a Vogue.com article on Tuesday, which included a full statement from Wintour herself. “Fashion is the art of embracing change, but some changes run closer to one’s heart than the rest. When it came to hiring someone to edit American Vogue…I knew I had one chance to get it right. I’m thrilled to announce that Chloe Malle will be the next Head of Editorial Content for our US title, leading the American magazine and guiding its digital coverage.”

    The announcement also included a statement from Malle herself, saying “Fashion and media are both evolving at breakneck speed, and I am so thrilled—and awed—to be part of that. I also feel incredibly fortunate to still have Anna just down the hall as my mentor.”

    According to Malle’s LinkedIn account, she attended Brown University, where she obtained her Bachelor’s degree in literary arts and comparative literature in 2008. Malle first began her career at Vogue in 2011 as social editor. She has stayed with the publication ever since, currently holding the role of Vogue.com editor and co-hosting the publication’s fashion podcast, The Run-Through. Malle’s writing has also appeared in other publications like WWD, The New York Times, and Architectural Digest.

    “Chloe has long been one of Vogue’s secret weapons when it comes to tracking fashion…like the best designers, she understands fashion’s big picture, its role shaping not just what’s on the runway but the changing fabric of modern life,” said Wintour. “Chloe has put in as many late nights as anybody at Condé Nast, all without losing her creative imagination or her sense of fun.”

    Wintour announced her intended departure from the role of Editor-in-Chief at U.S. Vogue in late June, a position she held for 37 years. She will continue at the company in a senior position as chief content officer of Vogue and Condé Nast.

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    Ella Mordarski

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  • Perplexity’s Clash with New Publishers Continues Despite Revenue-Sharing Efforts

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    Perplexity CEO Aravind Srinivas previously worked at OpenAI. Saul Loeb/AFP via Getty Images

    Perplexity AI, a startup that has previously come under fire from online publishers, is attempting to rebuild trust with media players through revenue-sharing agreements. But that effort hasn’t stopped complaints about how the company surfaces content. Its latest challenge comes from Japanese media groups Nikkei and Asahi Shumbun, which today (Aug. 26) filed a joint lawsuit accusing Perplexity of copyright infringement.

    Co-founded in 2022 by CEO Aravind Srinivas, Perplexity has quickly become a leader in A.I.-powered search and is currently valued at $18 billion. Unlike traditional search engines that return links, Perplexity responds to queries by summarizing information found online, accompanies by citations.

    Perplexity did not respond to Observer requests for comment on the lawsuit.

    Nikkei, which owns the eponymous Japanese newspaper and the Financial Times, and Asahi Shumbun claim that Perplexity has been storing and resurfacing their articles since at least June 2024, a practice the publishers describe as “free riding” on journalists’ work. The lawsuit, filed in a Tokyo District Court, demands that the A.I. company delete stored articles, stop reproducing publisher content, and pay each media company 2.2 billion Japanese yen ($15 million) in damages.

    The suit also alleges that Perplexity ignored robot.txt safeguards implemented by the news publishers to block unauthorized crawling and sometimes presented articles alongside incorrect information, a move the publishers argue “severely damages the credibility” of their newspapers.

    This is not Perplexity’s first clash with news publishers. Earlier this month, Yomiuri Shimbun, another major Japanese newspaper, filed its own lawsuit against the company. U.S. outlets have also raised challenges.

    Last year, Condé Nast, Forbes and The New York Times all threatened legal action over alleged copyright infringement. Perplexity is currently battling a 2024 lawsuit from Dow Jones and The New York Post—both owned by Rupert Murdoch’s News Corp—claiming that the startup misused content to train A.I. models. A court recently rejected Perplexity’s bid to dismiss that case.

    Perplexity has since tried to ease tensions by launching revenue-sharing programs that give outlets a portion of the ad revenue generated from their material. The program has attracted partners such as Time Magazine, Fortune and the German news site Der Spiegel. Perplexity also recently unveiled plans to give publishers around 80 percent of the sales from Comet Plus, a news service expected to launch later this year.

    For now, the media industry remains divided on how to handle the rise of A.I. Some, like the Associated Press, Vox Media and The Atlantic, have signed licensing deals with OpenAI. Others remain wary. The New York Times is suing OpenAI and Microsoft over unauthorized use of its content, while Canadian startup Cohere was hit with a similar lawsuit this year from more than a dozen news publishers. Thompson Reuters has also accused A.I. platform Ross Intelligence of copyright infringement in a case that dates back to 2020.

    Perplexity’s Clash with New Publishers Continues Despite Revenue-Sharing Efforts

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    Alexandra Tremayne-Pengelly

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  • How celebrities could interpret 2024 Met Gala theme

    How celebrities could interpret 2024 Met Gala theme

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    How celebrities could interpret 2024 Met Gala theme – CBS News


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    Celebrities and fashion fans are gearing up for the 2024 Met Gala on Monday. This year’s theme is “Sleeping Beauties: Reawakening Fashion,” and the dress code is “The Garden of Time.” Entertainment Tonight co-host Kevin Frazier joins CBS News to break down what and who to look out for at the star-studded event.

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  • Inside Christine McVie’s and Stevie Nicks’ decades-long friendship | CNN

    Inside Christine McVie’s and Stevie Nicks’ decades-long friendship | CNN

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    CNN
     — 

    Throughout the various personal turmoils for which the members of Fleetwood Mac are known, one relationship buoyed the band for decades: the friendship between its two frontwomen, Christine McVie and Stevie Nicks.

    McVie joined the band in 1970 during one of its early lineup changes and for years was its only woman. When Nicks was added to the lineup in 1975, the two became fast friends.

    Theirs was not a competitive relationship, but a sisterly one – both women were gifted songwriters responsible for crafting many of the band’s best-known tunes. Though the two grew apart in the 1980s amid Nicks’ worsening drug addiction and the band’s growing internal tension, they came back together when McVie returned to Fleetwood Mac in 2014.

    At a concert in London, shortly before McVie officially rejoined the band, Nicks dedicated the song “Landslide” to her “mentor. Big sister. Best friend.” And at the show’s end, McVie was there, accompanying her bandmates for “Don’t Stop.”

    “I never want her to ever go out of my life again, and that has nothing to do with music and everything to do with her and I as friends,” Nicks told the Minneapolis Star-Tribune in 2015.

    On Wednesday, McVie, the band’s “songbird,” died after a brief illness at age 79. Below, revisit McVie’s and Nicks’ years-long relationship as bandmates, best friends and “sisters.”

    The story of Nicks joining Fleetwood Mac is legend now: Band founder and drummer Mick Fleetwood wanted to recruit guitarist Lindsey Buckingham, who stipulated that he would only join if his girlfriend and musician Nicks could join, too. McVie cast the deciding vote, and the rest is history.

    “It was critical that I got on with her because I’d never played with another girl,” McVie told the Guardian in 2013. “But I liked her instantly. She was funny and nice but also there was no competition. We were completely different on the stage to each other and we wrote differently too.”

    Throughout the band’s many personal complications – McVie married and divorced Fleetwood Mac bassist John McVie and had an affair with the band’s lighting director, while Nicks had rollercoaster romances with Buckingham and Fleetwood – they were each other’s center.

    “To be in a band with another girl who was this amazing musician – (McVie) kind of instantly became my best friend,” Nicks told the New Yorker earlier this year. “Christine was a whole other ballgame. She liked hanging out with the guys. She was just more comfortable with men than I had ever been.”

    The two protected each other, Nicks said, in a male-dominated industry: “We made a pact, in the very beginning, that we would never be treated with disrespect by all the male musicians in the community.

    “I would say to her, ‘Together, we are a serious force of nature, and it will give us the strength to maneuver the waters that are ahead of us,’” Nicks told the New Yorker.

    “Rumours” was the band’s greatest success to date when it was released in 1977. But the band’s relationships with each other were deteriorating, save for the one between McVie and Nicks. While the pair were enduring breakups with their significant others, Nicks and McVie spent their time offstage together.

    The Guardian asked McVie if she was trying to offset the band’s tumult with her songs on “Rumours,” including the lighthearted “You Make Lovin’ Fun” and optimistic “Don’t Stop.” She said she likely had been.

    As multiple members’ drug use intensified, the band’s dynamic grew tense. McVie distanced herself from the group in 1984 amid her bandmates’ addictions, telling the Guardian she was “just sick of it.” Nicks, meanwhile, was becoming dependent on cocaine.

    After Fleetwood Mac was inducted into the Rock & Roll Hall of Fame in 1998, Christine McVie (third from left) quit the band.

    McVie told Rolling Stone that year that she’d grown apart from Nicks: “She seems to have developed her own fantasy world, somehow, which I’m not part of. We don’t socialize much.”

    In 1986, Nicks checked into the Betty Ford Center to treat her addiction, though she later became addicted to Klonopin, which she said claimed years of her life. She quit the prescription drug in the 1990s.

    After recording some solo works, McVie returned to Fleetwood Mac for their 1987 album “Tango in the Night,” and two of her songs on that record – “Little Lies” and “Everywhere” – became major hits. But Nicks departed the band soon after, and the band’s best-known lineup wouldn’t officially reunite until 1997 for “The Dance” tour and subsequent live album.

    The reunion was short-lived: After the band was inducted into the Rock & Roll Hall of Fame in 1998, McVie officially quit Fleetwood Mac, citing a fear of flying and exhaustion of life on the road.

    In the 2010s, after more than a decade of retirement, McVie toyed with returning to performing. She officially rejoined Fleetwood Mac after calling Fleetwood himself and gauging what her return would mean for the group.

    “Fortunately Stevie was dying for me to come back, as were the rest of the band,” she told the Arts Desk.

    In 2015, a year after she’d rejoined Fleetwood Mac, McVie hit the road with her bandmates. Touring with the group was tiring but fun, the first time they’d performed together in years.

    “I’m only here for Stevie,” she told the New Yorker that year.

    Christine McVie (left) and Stevie Nicks perform together at Radio City Music Hall in 2018.

    Nicks concurred: “When we went on the road, I realized what an amazing friend she’d been of mine that I had lost and didn’t realize the whole consequences of it till now,” she told the Minneapolis Star-Tribune in 2015.

    During that tour, McVie wore a silver chain that Nicks had given her – a “metaphor,” McVie told the New Yorker, “that the chain of the band will never be broken. Not by me, anyways. Not again by me.”

    McVie told the Arts Desk in 2016 that she and Nicks were “better friends now than (they) were 16 years ago.”

    Touring with Buckingham and Fleetwood could quickly get tumultuous for Nicks, McVie said, due to their shared history. “But with me in there, it gave Stevie the chance to get her breath back and not have this constant thing going on with Lindsey: her sister was back,” she said.

    Their mutual praise continued: In 2019, McVie said Nicks was “just unbelievable” onstage: “The more I see her perform on stage the better I think she is. She holds the fort.”

    When their 2018-2019 tour ended, though – without Buckingham, who was fired – the band “kind of broke up,” McVie told Rolling Stone earlier this year. She added that she didn’t speak with Nicks as often as she did when they toured together.

    As for a reunion, McVie told Rolling Stone that while it wasn’t off the table, she wasn’t feeling “physically up for it.”

    “I’m getting a bit long in the teeth here,” she said. “I’m quite happy being at home. I don’t know if I ever want to tour again. It’s bloody hard work.”

    News of McVie’s death rattled Nicks, who wrote that she had only found out McVie was sick days earlier. She called McVie her “best friend in the whole world since the first day of 1975.”

    On her social media accounts, Nicks shared a handwritten note containing lyrics from the Haim song “Hallelujah,” some of which discusses grief and the loss of a best friend.

    “See you on the other side, my love,” Nicks wrote. “Don’t forget me – Always, Stevie.”

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