Speaker 1: Bloomberg Audio Studios, podcasts, radio news.
Speaker 2: AI is just like the world's biggest sampler. It's sampled everything,
Speaker 2: whether it's books, language. The machine is freaking amazing, but
Speaker 2: humans are even more amazing. We made the machine.
Speaker 1: Will I Am, musician and technologist. You don't ever worry
Speaker 1: about like the amount of material being scraped, that being
Speaker 1: AI generated versions of yours. You can accept that you're.
Speaker 2: Asking the wrong question, the question you should ask you.
Speaker 2: Are you worried that you don't own your voice? Everybody,
Speaker 2: not just musicians, every single person needs to own their data,
Speaker 2: their essence, their likeness. You got to use your imagination
Speaker 2: and push industries to protect people in this new realm
Speaker 2: that we're in.
Speaker 1: From Bloomberg Weekend. This is the Michelle Hussein Showl Hussein.
Speaker 1: It's now more than thirty years since a group came
Speaker 1: together in Los Angeles who went on to become known
Speaker 1: all over the world as the Black Eyed Peas. For
Speaker 1: that entire time, they've had the same frontman, will I Am,
Speaker 1: who was raised by a single mother, and in fact
Speaker 1: it is with her that his long and deep journey
Speaker 1: into music began, because when he was fourteen, she bought
Speaker 1: him a Boombox, and by seventeen he had a record deal.
Speaker 1: Since then, he has won multiple Grammys and he's produced
Speaker 1: other artists too. But what I think is really intriguing
Speaker 1: about him, certainly compared to many others in the creative industries,
Speaker 1: is his attitude not only to technology but to AI. Essentially,
Speaker 1: he wants to be at the forefront of that change.
Speaker 1: He's founded his own tech company, Fyi dot Ai. He
Speaker 1: teaches a college class on AI, and he believes in
Speaker 1: the capacity and the power of these tools to assist
Speaker 1: human creativity. We met in can where he was on
Speaker 1: a European tour with the PS and I was curious
Speaker 1: where he would put the boundaries on AI, set the
Speaker 1: parameters if you like, to a world which many other
Speaker 1: creatives see as a threat to their rights, image, voice,
Speaker 1: ultimately livelihoods. So here's what happened. When I sat down
Speaker 1: with Will I am thank you for taking the time.
Speaker 2: Oh, no, thank you.
Speaker 1: I know you're in the middle of your tool.
Speaker 2: You know it's like summer vacation, but it must.
Speaker 1: Take quite a lot out of you know, the travel, the.
Speaker 2: No, it's not working.
Speaker 1: Well, that's great to know. Okay, is everyone happy?
Speaker 2: All right?
Speaker 1: Okay, so thank you for fitting us in. Thank You're
Speaker 1: an incredibly busy man, and you have these parallel career,
Speaker 1: not just music, which everyone probably knows you best for,
Speaker 1: but tech with your own company FYIAI and the course
Speaker 1: you're leading at Arizona State University, which is also by AI.
Speaker 1: So there's loads for us to talk about. Can I
Speaker 1: tell you first the moment that stayed with me as
Speaker 1: I was preparing for this conversation. It was watching the
Speaker 1: video for one of your songs, I'm Abe and you're
Speaker 1: showing the other piece a computer, but you're the way
Speaker 1: you're talking about it stayed with me because you're saying,
Speaker 1: this artificial intelligence, this is what's going to take the
Speaker 1: PS into three thousand and eight. And it was hearing
Speaker 1: you say artificial intelligence sixteen years ago when not many
Speaker 1: people were thinking in those terms.
Speaker 2: It's like in that video we described an LM. It's
Speaker 2: like you take the entire English vocabulary, you take my
Speaker 2: high notes, my law notes, and the noise, and with
Speaker 2: this artificial intelligence, you type in your lyrics and this
Speaker 2: thing produces, it sings it. So we pretty much predict.
Speaker 2: Did you know what we now know as text to music?
Speaker 2: Your udios, your SunOS of the world, your Larias of
Speaker 2: the world, and thank you Professor Patrick Winston from MIT
Speaker 2: Rest in Peace. Professor Patrick Winston used to let me
Speaker 2: sit in his class from two thousand and six, seven
Speaker 2: eight nine. Whenever a Black Eyed Peas would tour Boston,
Speaker 2: I would go to sit in the MIT lab.
Speaker 1: Right, Okay, he let you in. But you were interested
Speaker 1: enough to be there. And I'm wondering what made you
Speaker 1: so aware of the future for you know and with
Speaker 1: the next stage at all? At all of that time,
Speaker 1: are you particularly tuned into technology and its potential and
Speaker 1: its opportunity.
Speaker 2: I like any type of tool, whether it's a synthesizer,
Speaker 2: a keyboard, a traditional piano. I like a drum machine.
Speaker 2: But then when I got my hands on my MacBook
Speaker 2: and pro tools, that's when I was transfixed. That's when
Speaker 2: I was like, Wow, what is this world? And that
Speaker 2: ha is what made me interested in AI Like wow,
Speaker 2: if I'm typing into the computer and outcomes like images
Speaker 2: or sound, eventually I'm going to talk to the computer
Speaker 2: and the computer's going to talk back, and it's going
Speaker 2: to in that ping pong, that banter, that brainstorm, it's
Speaker 2: going to make exactly what I have in my mind.
Speaker 2: It's kind of like magic abra cadabra.
Speaker 1: And when you started making music back in your teens
Speaker 1: with a boombox, and I think your mom, your mom
Speaker 1: got for you. How did it feel then? Did it
Speaker 1: feel magical in its own way?
Speaker 2: Yeah? The idea of that I could record something from
Speaker 2: a radio station and then put it in a separate
Speaker 2: cassette and then loop the part that I liked and
Speaker 2: then put that in the other cassette and then get
Speaker 2: the headphones, put it in the mic, and then wrap
Speaker 2: into that. Like that to me was like, wow, look
Speaker 2: look look what I can do. Ma. She's like, boy,
Speaker 2: who taught you got to do that? I'm like, I
Speaker 2: don't know. I think it probably aw somebody do it.
Speaker 2: It's like we didn't have the Internet. Yes, I did
Speaker 2: come for those Internet.
Speaker 1: I was there too, so we managed. Did your mom
Speaker 1: encourage you? What was her attitude to your music?
Speaker 2: Oh? So my mom? My mom always sends me like,
Speaker 2: I'll read the text message from my mom. She she
Speaker 2: wrote me this, I gotta scroll up. I was like,
Speaker 2: I love you, Mom. Thanks for designing me, Thanks for
Speaker 2: investing in me, Thanks for developing me. Thanks for believing
Speaker 2: in me and protecting me and loving me. You drip
Speaker 2: me up and here I am. I am your will,
Speaker 2: not because my name is Will, but also what she willed.
Speaker 2: She's like, as I always said to you, when there's
Speaker 2: a will, there's a way, and you are will. Will
Speaker 2: keeps finding ways and answers. Just know I still believe
Speaker 2: in you. You have many levels to go. Keep dreaming,
Speaker 2: but never stop dreaming. So my mom is always like,
Speaker 2: oh you think you finished, You ain't finished. So my
Speaker 2: mom is like the coach on the side, like.
Speaker 1: So she's always pushing you on beyond.
Speaker 2: She's the one who taught me how to like are
Speaker 2: you here or are you still over there? Come out
Speaker 2: of that be here.
Speaker 1: I guess some of that must come from the fact
Speaker 1: that she had a tough time in her life herself,
Speaker 1: right when she was raising you. Times we were not easy.
Speaker 2: Yeah, when you're in a nightmare, you dream out the nightmare.
Speaker 2: The way to get out of a nightmare is you
Speaker 2: manually vividly change the dream, and then you have to
Speaker 2: work your way backward how to materialize that awesome imagination
Speaker 2: that took you out of your like worry, your conundrum
Speaker 2: your angst and the way to get out of that
Speaker 2: anks is sometimes it's okay to have a healthy day dream,
Speaker 2: but then how do you take that dream reverse engineering
Speaker 2: and make it reality.
Speaker 1: And by seventeen you had a record deal. So your
Speaker 1: dreams when you were a teenager. At seventeen, you had
Speaker 1: a massive prize in your life, something that must have
Speaker 1: been so unusual, like you know, your peers, your community,
Speaker 1: so an incredible achievement. How did it feel.
Speaker 2: So there's this guy by the name of Stephan Gordy.
Speaker 2: Stephan Gordy's dad is Barry Gordy, and he and I
Speaker 2: went to school together. So one day I come to
Speaker 2: school like remember that tape when I used to make
Speaker 2: my little tapes.
Speaker 1: Yep.
Speaker 2: I come to school. I'm like, Yo, give this to
Speaker 2: your dad. I want to get a record deal. And
Speaker 2: he was like, I can't give my dad your demo.
Speaker 2: I was like, come on, it's Stefferen And so when
Speaker 2: I finally got a record deal just two years later,
Speaker 2: I eventually signed Steffanto my label Red Food from LMFAO
Speaker 2: party Rockers in the house tonight anyway, So one day
Speaker 2: we were sitting at the Grammys with Stephan, his dad,
Speaker 2: Barry Gordy, and then myself and Barry Gordy's like, I
Speaker 2: want to thank you so much for believing in my son.
Speaker 2: I'm churrer label. I'm like, yo, Barry went, we went
Speaker 2: in ninth grade. I try to give my demo to
Speaker 2: Stephan to give to you, and I grew up with
Speaker 2: his son and then signed his son to my label.
Speaker 1: How did he react when you said that to him?
Speaker 2: Oh? He told me yes, Steffen told me that, you know,
Speaker 2: but we were at the grammy, so the conversation quickly changed.
Speaker 2: But it just goes to show, like look into your dream,
Speaker 2: go to the settings and figure out how that dream
Speaker 2: actually is operating, and then reverse engineered it. You know,
Speaker 2: how you could prompt gpt or anthropic and then outcomes
Speaker 2: an image you could prompt it. Get the right prompt
Speaker 2: life is the same way you could prompt your life.
Speaker 2: And prompting your life is not words, it's people. The
Speaker 2: way you put the words together to get the prompt
Speaker 2: the results. It's the people you put in your life
Speaker 2: to get the results.
Speaker 1: Is this what you're pouring into the course you're teaching
Speaker 1: at Arizona State Because I know you've said that the
Speaker 1: course is called your Agentic, so the agentic self, and
Speaker 1: so obviously there's a link to AI in that. But
Speaker 1: I think you've said that through that course you've found
Speaker 1: where the love is obviously a reference to one of
Speaker 1: your most famous songs.
Speaker 2: That was a stage in my life when it was
Speaker 2: the scariest stage in my life. What do I mean
Speaker 2: by that? I was scared as all hell preparing for
Speaker 2: that stage of teaching but then also play on word stage.
Speaker 2: That was the scariest stage in my life because I've
Speaker 2: never done that before. Like, we would have rehearsals and
Speaker 2: I would like, not come out. People would be like,
Speaker 2: where's will I? And I would be like, oh, I'll
Speaker 2: be there. I'll be there and I'll call my mom
Speaker 2: And how many people out there waiting? I'm like, mine's
Speaker 2: like seven people out there wait for me. And I'm like,
Speaker 2: heart's beating fast. I don't like. I don't like when
Speaker 2: my heart beats fast because then it triggers angst. She's like,
Speaker 2: what are you so nervous about? I'm like, what's gonna
Speaker 2: happen if there's a smarty pants somebody that's an expert?
Speaker 2: It okay? What will happen if you're at a concert
Speaker 2: and somebody is really good, Are you gonna give them?
Speaker 2: I'm like, yeah, you're supposed to share the stage, right,
Speaker 2: I'm like yeah, You're like, well, that's what you do
Speaker 2: in class. And so from there I realized that I
Speaker 2: should write my chorus like a song. I have my
Speaker 2: opening monologue, what's wrong with the world, Mama, people living
Speaker 2: like they ain't got no mama? As I put out
Speaker 2: the problem, and then the chorus is when I open
Speaker 2: up the class for questions on my monologue, and then
Speaker 2: the second verse is the second hour, and then we
Speaker 2: do the chorus again, and the third verse is the closing.
Speaker 2: I feel the weight of the world on my shoulder
Speaker 2: as I get older, you old people. If there is
Speaker 2: the song that I've I wrote and produced that should
Speaker 2: reflect how I teach the chorus, it will be Where's
Speaker 2: the Love? Because Where's of Love is about asking questions
Speaker 2: and then searching for that to answers to that question,
Speaker 2: because Where's Love is just a question song. When humanity
Speaker 2: goes wrong, people go to that song. So I'm like, oh, shocks,
Speaker 2: I've done. I've done some version of this. So whereas
Speaker 2: the Love is how I teach the course, a gentic
Speaker 2: self is telling people to ask who are you in
Speaker 2: this new world that we're living, and how much of
Speaker 2: you are you going to give to the machine? What
Speaker 2: do you hold sacred? What do you want to do
Speaker 2: with the machine? And in this case, the machine is yours.
Speaker 2: Your data is yours. There's never been a container to
Speaker 2: put your data in up until your own person or agent.
Speaker 2: You have a house, right, you don't share it with
Speaker 2: your neighbors. You wouldn't buy a house that didn't have
Speaker 2: its own restroom, So why are you sharing your AI
Speaker 2: with everybody else?
Speaker 1: But you have one of those platforms yourself?
Speaker 2: Right?
Speaker 1: FYI?
Speaker 2: Your data is yours?
Speaker 1: Okay, So the protection of data is important.
Speaker 2: Yeah, we can't go into your account and be like, hey,
Speaker 2: can you go? We can't do that. Your data is
Speaker 2: your data. Your agent is your agent, and we believe
Speaker 2: that's like I have my immune system, I got my
Speaker 2: digestive system. These are things that are ours. Shouldn't your
Speaker 2: AI system be just as much yours as as your
Speaker 2: other systems are?
Speaker 1: But then what about AI and music? Because you're an
Speaker 1: investor in AI companies, including even one of the ones
Speaker 1: that's been in its own like legal battles with some
Speaker 1: of the record labels, And so I wonder where you
Speaker 1: draw the line in that, like, do you worry about
Speaker 1: the volume of music nowadays which is totally AI generated?
Speaker 2: No, not everything. I come from hip hop. And if
Speaker 2: you heard a song like pump It, I sample that
Speaker 2: from dig Dale, Misery lou And and I wrote my
Speaker 2: song on top of that. I reinforced the drums. So
Speaker 2: for me to have like a hyper criticism on AI
Speaker 2: that samples everything, when I sampled a lot of things
Speaker 2: to make my songs, that would be hypocritical. AI is
Speaker 2: just like the world's biggest sampler. It sampled everything, whether
Speaker 2: it's books, language. I think it's not the technology that
Speaker 2: you should be like, what's going on there, it's a
Speaker 2: business model.
Speaker 1: When people, including colleagues of yours in the industry, other
Speaker 1: high profile figures, say AI is an assault on human creativity,
Speaker 1: you don't agree.
Speaker 2: No, not at all, because your boxing creativity to how
Speaker 2: an industry told you you should create. Before the record industry,
Speaker 2: what was a song? What was everybody singing in twelve
Speaker 2: twenty six, thirteen twenty six, what was the village freaking melody?
Speaker 1: There would have been something.
Speaker 2: No, No, no, but what was it?
Speaker 1: No idea?
Speaker 2: Okay, in fifteen twenty six, after the printing press, the
Speaker 2: first industry, which is publishing. Fourteen forty nine came the
Speaker 2: printing press, and from there we got our heroes like
Speaker 2: Bach and Beethoven. They were the superstars of that industry.
Speaker 2: And from fifteen twenty six, sixteen twenty six, seventeen twenty six, eighteen,
Speaker 2: four hundred freaking years of the printing press, no record industry.
Speaker 2: And the way that music was spread out was printing
Speaker 2: music so that conductors could conduct, and violins are sold,
Speaker 2: violas were sold, basilicas were built, no amplifiers, just amphitheaters.
Speaker 2: And then the record industry came. You know what people
Speaker 2: said about the recordustry, What do you mean you're gonna
Speaker 2: bring the song into the house, No orchestra. We've been
Speaker 2: here before. But what came because of the record player?
Speaker 2: The record industry. And you're assuming that AI is supposed
Speaker 2: to mimic the recording, No, it's not. It's supposed to
Speaker 2: create a new industry. New types of experiences are supposed
Speaker 2: to come, not just recordings recordings for the record industry.
Speaker 2: You're supposed to use AI to dream up the new
Speaker 2: experience is just right. Now, what's the first thing they
Speaker 2: can think of? Well, let's do do recordings. This is
Speaker 2: where creators is supposed to be, Like oh oh oh,
Speaker 2: this is the new playing field.
Speaker 1: Do you mean like it's almost like a call to
Speaker 1: action for better creativity or.
Speaker 2: Okay, I don't give a how awesome AI is. It
Speaker 2: cannot outpace my creativity. It's not imagining. It's a regurgitation
Speaker 2: of imaginations. So people are afraid, like, oh my god, it's
Speaker 2: it's gonna it's gonna what it's gonna what it's gonna mimic,
Speaker 2: it's gonna reproduce what's already been produced. I believe that
Speaker 2: critical thinking and like renting out your imagination and being
Speaker 2: purposeful is our AI proof. You know, pathways to be
Speaker 2: of service. Music will always be And even in AI
Speaker 2: with this onslaught of like how much songs do AI
Speaker 2: produce every single year, every single week, every single month,
Speaker 2: every single quarter, every single year. There's more AI music
Speaker 2: than human made music. There's more on the Internet. The
Speaker 2: Internet way it used to be is not the way
Speaker 2: it is now. There's just as many, if not more
Speaker 2: bots online than there are people. So this means live events,
Speaker 2: Broadway theater, real performance. When I say real, I'm talking
Speaker 2: about human sweat, human rents out. It's gonna be the
Speaker 2: most sought after, valuable form of entertainment. At least that's
Speaker 2: what I hope, because damn, the machine is freaking amazing,
Speaker 2: but humans are even more amazing. It's no longer gonna
Speaker 2: be about good. It's gonna be about values. It's gonna
Speaker 2: be like what is what's precious? AI is great, it's fast,
Speaker 2: but human like sweat. We gotta value that just as much.
Speaker 1: You don't ever worry about like the amount of the
Speaker 1: amount of material being scrape or your voice or your life,
Speaker 1: likeness being AI generated versions of yours. You can accept that.
Speaker 2: No, no, no, you're asking the wrong question the question
Speaker 2: you should ask. Are you worried that you don't own
Speaker 2: your voice? Do you worry that there's no likeness in
Speaker 2: essence industry? You know I have a credit card? I
Speaker 2: have a credit card. One hundred years ago, this didn't exist.
Speaker 2: Fifty years ago, American Express didn't exist the way it
Speaker 2: exists right now. There wasn't digits and this freaking little
Speaker 2: chip that didn't exist. So what is the equivalent of
Speaker 2: that form an essence and likeness. So everybody, not just musicians,
Speaker 2: every single person needs to own their data, their essence,
Speaker 2: their likeness. There needs to be industries. You got to
Speaker 2: use your imagination and push to have industries to protect
Speaker 2: people in this new realm that we're in. Here's another
Speaker 2: thing too, one thing you said about AI music. Humans
Speaker 2: need their own file. Right now, AI music and AI
Speaker 2: video shares the same MP three MP four file as humans.
Speaker 2: That ain't right. It takes AI seconds to make something
Speaker 2: and it's valued the same. Why is that? Why should that?
Speaker 2: Why should an MP three that an AI made be
Speaker 2: valued the same fraction of a penny than somebody's song
Speaker 2: that took them weeks and weeks and weeks and weeks
Speaker 2: and months. But how can you validate human sweat to
Speaker 2: make something? That means? We need a lived experience file,
Speaker 2: Like drummers are gonna drum with the freaking watch and
Speaker 2: they're gonna have biometrics that is connected to that file.
Speaker 2: That biometrics is connected and connected to the location and
Speaker 2: time and perspiration, and so when that file is up
Speaker 2: on a DSP, it should be worth more than an
Speaker 2: MP three file. Who's to say that an AI song
Speaker 2: is worth the same as a human song. In order
Speaker 2: to do that, human files need to be sacred to
Speaker 2: human creations. And let Ai keep MP three's and waves
Speaker 2: and ai ff.
Speaker 1: So that's an argument for better labeling. It's like clear,
Speaker 1: so the.
Speaker 2: Market, let Ai b ai. But what if I just
Speaker 2: want to go on a studio with humans and create.
Speaker 2: Is it going to be the same file? And why
Speaker 2: should it? Why should it be the same file, and
Speaker 2: why should it be worth the same? It should be
Speaker 2: worth more. Give more incentives for people to create human
Speaker 2: made stuff and let Ai be ai. That's great. You
Speaker 2: need something that differentiates it from the other stuff, and
Speaker 2: that file I call it the POL, the proof of
Speaker 2: life file. So this song dot pol right now on
Speaker 2: on a on DSPs, it's Where's a Love dot wave?
Speaker 2: Or Where's the Love dot MP three or MP four
Speaker 2: on YouTube? We need a Where's a love dot pol
Speaker 2: because that has human biometrics connected to it and a
Speaker 2: location and a timestamp on a Ledger, and it should
Speaker 2: be worth more than just compute output.
Speaker 1: I remember when Where's the Love came out? It was
Speaker 1: a couple of months after the Iraq War.
Speaker 2: We wrote it after nine to eleven and then yeah,
Speaker 2: the song came out a couple of months after the
Speaker 2: Iraq War you're.
Speaker 1: At and today, like, how how do you feel about
Speaker 1: this moment when there's another wall that the US has
Speaker 1: been involved in in the Middle East? Have you been
Speaker 1: thinking about the song again in that context or when
Speaker 1: it's part of your tour and your performances today? Do
Speaker 1: you think people are putting that lens on it in
Speaker 1: twenty twenty six?
Speaker 2: You could use that for any time there's human error.
Speaker 2: It's a prescription for like reflection. Every time there's human error,
Speaker 2: we could sing where's the Love to ourselves to make
Speaker 2: sure we're on the right path.
Speaker 1: And what do you think of when you perform it now?
Speaker 1: Do you think of then or the present moment?
Speaker 2: No? No, no, we think of the present. We reflect on
Speaker 2: the things that are happening in the world. It's what
Speaker 2: keeps us grounded in the work that we do in
Speaker 2: the community. My foundation is rooted in the words that
Speaker 2: we believe in and Where's Love? I am Angel foundation
Speaker 2: is rooted in that so that folks and communities that
Speaker 2: have been neglected have pathways to success.
Speaker 1: Well, finally, what gives you the most joy today? Is
Speaker 1: it making music or is it the teaching and the
Speaker 1: being part of like imparting everything you're passionate about to
Speaker 1: a younger generation.
Speaker 2: The thing that gives me the most joy is moments
Speaker 2: like when I when I id eated on the po
Speaker 2: L I'm like, wait, wait.
Speaker 1: Wait, that that don't exist and we should have it.
Speaker 2: I just dreamt that don't that don't exist? Like that
Speaker 2: type of stuff, and pushing my mind to like dream
Speaker 2: up the undreamt and landing on some version of like wait,
Speaker 2: I love that. I love creating at high speed, not
Speaker 2: regurgitating what I used to do.
Speaker 1: And is your mom gonna let you keep on the
Speaker 1: tracks your honor? Is she going to push you to
Speaker 1: break new ground and do something?
Speaker 2: She's always She's always like, and what's she going to
Speaker 2: do in the X She's always she's always like, I
Speaker 2: love our banters.
Speaker 1: What are you going to do next?
Speaker 2: I'm gonna teach for the next twenty years. I'm gonna
Speaker 2: do that. I want to. I've done the voice for
Speaker 2: like almost fifteen years, and I think there's like a
Speaker 2: there's a show that that can exist from my teaching
Speaker 2: that feels like the voice, that feels like the apprentice.
Speaker 2: That's purpose base. It's like pushing folks, encouraging folks, mentoring
Speaker 2: folks to supercharge their imagination to go out and solve
Speaker 2: the world's problems with the agent that they build. Would
Speaker 2: love to make a show like that.
Speaker 1: I look forward to seeing it. Thank you so much,
Speaker 1: Thank you, thank you. Will take care. I'm looking forward
Speaker 1: to seeing that next stage.
Speaker 2: This is going to be on the internet.
Speaker 1: I very much will be.
Speaker 2: You guys got a bleep machine because I that's not.
Speaker 1: My problem, that's Louise's. That's it, and that's where we
Speaker 1: left it. If you don't know the song, where is
Speaker 1: the Love? It is worth seeking out. I rediscovered it
Speaker 1: while I was preparing for this conversation and you might
Speaker 1: even have caught it live as the peas toward this
Speaker 1: summer special. Thanks this week to Alex Israel, Harry Syd
Speaker 1: and our Bloomberg Media team at the Canlon Festival for
Speaker 1: recording this episode, which you can also watch by the
Speaker 1: way on Bloomberg dot com or YouTube, And so to
Speaker 1: the team producers Jessica Beck and Chris martlou video producer
Speaker 1: Andy Hayward, with guest booking by Elan Bird, and social
Speaker 1: media by Alex Morgan. Our music was composed by Bart Warshaw.
Speaker 1: Louisa Lewis is the executive producer and at Bloomberg Weekend
Speaker 1: thanks to Brendan Francis Newnham and our executive editor Catherine Bell.
Speaker 1: Until next time, goodbye,