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Director and actor Robert Townsend shares his affinity for “Blaxploitation” films and how it was the first time he saw Black characters in films as superheroes. [VID: Interview with actor Robert Townsend. Transcript: For one, I hate the term black exploitation because that was the very first time I got to see black folks in lead roles kicking butt and being like all the other heroes that I had grew up on from Bogart to Cagney to John Wayne. You name it. So it was a period where Fred Williamson was my hero. Pam Greer was my hero. Rudy Ray Moore, it wasn't, I hate that they always say it was exploitation. No, Hollywood made a lot of money. Hollywood made a lot of money on those films and they supplied a need. If you've only seen people in that kind of "yes sir, boss," mode and all of a sudden you see 'em, "I'm the cool guy, I get the girl." I mean the only time the brothers would get the girls in the movies before was when they were dead. You know? "I'm gonna miss you." And she was shot. They never saved the day, they were always the best friend. And so here we had a period where you got Shaft, you got African Americans in lead roles and they fought the bad guys and they won. And I don't know why that was bad because as a kid growing up in Chicago, I'd go down to the McVickers and the Woods Theater downtown in Chicago and see three movies for $2. And you'd see a "Shaft," you'd see a "Super Fly," you'd see "The Mack." And all it was was great entertainment. But only this time, the leads were African Americans.] WHAT ARE YOUR THOUGHTS? REFERENCE https://www.pbs.org/wnet/americanmasters/archive/interview/robert-townsend/ Robert Townsend Found in: Sidney Poitier: One Bright Light Interview Date: 1998-10-14 Runtime: 0:33:35 Keywords: American Archive of Public Broadcasting GUID: cpb-aacip-504-4f1mg7g994, cpb-aacip-504-b853f4m850 MLA CITATIONS: "Robert Townsend , Sidney Poitier: One Bright Light" American Masters Digital Archive (WNET). October 14, 1998 , https://www.pbs.org/wnet/americanmasters/archive/interview/robert-townsend/ APA CITATIONS: (1 , 1). Robert Townsend , Sidney Poitier: One Bright Light [Video]. American Masters Digital Archive (WNET). https://www.pbs.org/wnet/americanmasters/archive/interview/robert-townsend/ CHICAGO CITATIONS: "Robert Townsend , Sidney Poitier: One Bright Light" American Masters Digital Archive (WNET). October 14, 1998 . Accessed April 11, 2023 https://www.pbs.org/wnet/americanmasters/archive/interview/robert-townsend/ FULL TRANSCRIPT Speaker Sydney wrote in his book, Viewed from where I stood on the margins of the American social reality, the Hollywood of my youth was not a courageous place, nor was in a hospital, a place for one perceived as different as a trespasser prowling too close to some private domain. Sydney came to Hollywood in the 50s when you were born and you follow. Speaker 30 years later, did you find this a hospitable place when you arrived? Speaker Oh, you know, when I. Speaker You know, it’s funny because my earliest memories of Hollywood were before I even got here as a kid watching movies and being a big fan of Humphrey Bogart and just the images that I saw. But I knew something was wrong because I would watch and want to be Humphrey Bogart. And he was looking at you, sweetheart, all of that. And I noticed that the black people talk differently. Speaker They were you all meeting in the movie? Is there anything? Speaker And as a kid, I knew something was wrong, but I couldn’t. I was like going, well, I want to be Humphrey Bogart. And I couldn’t quite figure out why they were talking that way, because everybody else is talking English, you know, like regular, you know. Speaker And they were and, you know, I mean, you know. Speaker And so when I finally got into show business and I discovered that there were writers that would write certain things and there were directors that would direct you in a certain way to play these roles, then I discovered another side of Hollywood and I had that much more respect for Mr. Porter when I would look back at the films that he was a part of. It really made me realize there was something going on different. And so when I got here, I was kind of aware, but I didn’t quite know, you know, when I was a kid, my nickname was TV Guide because all I did was watch television and I could do impressions of everything. And I thought I was going to be Ronald Coleman when I got in fights with the queen of England. Speaker I shall do whatever, you know. I mean, that’s what I was thinking. Speaker And I found myself auditioning for a lot of slaves and pimps and junkies and illiterate basketball players. So those were the only roles. And so when I got to Hollywood, I discovered something different as well. Speaker What kind of difference do you think Sydney having first made for you? Speaker Oh, what I would say is that I can’t remember the first time I saw him on screen. I just remember that that was the very first time I saw someone that looked like me have dignity and stand up for themselves because I had seen all those other images of, you know, there a line in here and eyeballs really big. Speaker And there was this man who was articulate and strong. Speaker And, you know, right away I could understand. I saw something. I can understand the magic. And he had a charisma and he was I don’t know, it was like royalty. It’s like photographing royalty. And there it was. And I said, wow, that’s what it’s really about. You know, that’s who because I never watched television and movies with a prejudice. I but I just knew that something was lopsided. And then when I saw, you know, Mr 48 for the very first time, it really affected me on a deeper level. I just knew that that was the right. He was doing what I really wanted to do. And and back then, I didn’t know what his struggles were, you know. You know, it’s funny because I had I had lunch with him a long time ago and I you know you know me. Speaker I’m like a kid, you know, I’m like, well, how did you get to have dignity? Speaker Know, I mean, I’m an artist. I’m like, what? Anybody else didn’t get dignity. You got dignity. And he said, you know. Speaker You know, he’s so, you know, you know, articulate and, you know, eloquent in his words. And he said that would mean, Robert, that, you know, that understood that understood what was going on was wrong. And these men had a lot of courage. These directors, these writers that, you know, said, hey, here’s the defiant ones, a year, I guess, who’s coming to dinner. And they had vision and they, you know, took whatever heat they had to take, you know, in the heat of the night, you know. But he said he only did so many movies because of that, because he said no, because he didn’t want to do, you know, the stereotypical roles. And so I had to. And he just I you know, he says I haven’t done, you know, hundreds and hundreds of films. But the ones I did they did matter to me. Speaker And that always stayed with me because I to this day, I remember the comedy. How do you get to have dignity? Because you’re talking about the 50s. Speaker And when you look at if you said there was a scale of, you know, all the films that were coming out of Hollywood, for the most part, everyone followed the same pattern. And so there was this man that didn’t have to shuffle and do you know, can’t look at you. Speaker I can’t look at it. Speaker You know, he was you know, I will look at you and I. I can be a psychiatrist. I could be anything. And you go like, whoa, you know, it was unheard of to see that on screen. It was happening. And, you know, in segregation, you had black doctors, black psychiatrists and all of that, but you never saw them on screen. Speaker And so, you know, I mean, his impact was was was was deeper on a lot of levels because visually, you could see him as a doctor, you know, where that was such a powerful imagery for me as a kid, because I grew up on the west side of Chicago, rough neighborhood. All I saw was like hustlers and pimps and that kind of stuff. And started to see something like that on television was kind of, you know, really groundbreaking, you know, for me, because I know what’s wrong with this picture. But nothing was wrong with the picture. It was just that my eyes had never adjusted to understanding all the possibilities. Speaker So I just think because that kid thing stays with you your whole life in a funny way, that clean slate and it doesn’t have a political thing to do. Just as I see this and now I see this and. Speaker Oh, yeah, well, you know, it’s kind of like. Speaker It’s like some kids took in the images and made them say, I can’t do because of the color of my skin, I can’t play a king, I can’t play whatever character with with Mr. portrayed. There were no limits. And for some reason, I evolved into that, that there was something going on that made me stronger, you know what I mean? But I like I said, I was a kid. I was you know, I guess my nickname was TV Guide, but I would do impressions of everything I saw on television. But when he came on, there was something. Speaker And to this day, he still has it. Speaker And it still affects me the same way on. Speaker What was the first do you remember your first? What do you feel? Do you remember what it was? Speaker Oh, what comes to mind are two different films. Speaker One is The Defiant Ones, because that that imagery was so powerful, you don’t know what to think you can remember. Speaker Well, that made a difference. Well, you know what, I was so. Speaker There’s another. I think it’s up to you. I’m not sure. Speaker I saw a golden rule of. Rudy. Speaker For the very first time I saw Mr. Portrayed in the movie, a couple of movies come to mind on. The Defiant Ones with Tony Curtis, because I remember, you know, the chains and then being linked together, but then this friendship, this bond, you know, and and again, that. He was outspoken and he had something to say, so that’s one that comes to mind what the three come to mind as a kid. Then there was a movie with Richard Widmark and he was on. It was a long, long ships. I can’t think of the name of the movie now, but it’s I see him and he’s got like a he’s a swashbuckler kind of character and I don’t even know the film now. I’m just thinking as a kid, I remember that had an impact, you know, because the way, you know, the way he was dressed in the whole period. Speaker And but the other film that I would say no way out. Yeah. That one because of again. Speaker His manner, because it was like nothing I’d ever seen before, and it’s funny how imagery stays in your head even as a kid and I haven’t seen a lot of these films of late, but the imagery I’m going back to when I was a kid now, and I just remember going, wow, I don’t even know how to describe it. I it’s like I just remember seeing it on television and even though it was black and white and how powerful it was. And I mean, I haven’t seen it since then, but those were the earliest those were the earliest things I remember. Speaker It’s interesting on the way up. Speaker I’ll tell you that later. Speaker Had you ever seen or heard of Paul Robeson Academy or one? Speaker I just. No, no, I of you know, I mean, much later I had what? Because with with Paul Robeson, it was, you know, Old Man River, you know, and again, I couldn’t identify because there were a lot of those dialects that I so and not hated. But it was just like I had seen so much of that. So I couldn’t identify. And it wasn’t later on until later on that I understood, you know, in terms of who he really was. But, you know, again, it fell into that thing of understanding that certain performers had to do that, like watching Amos and Andy. Speaker And when you hear him talk, you know, and I just remember as a kid, you know, like caught up Dallas Sapphire, I know that you really did want to die. Speaker This president and I and I just remember that Dilek as a kid because I could do any voice. And then I was like, well, you know, but again. With with Paul Robeson, it wasn’t until later on that I that I saw tapes of his his his his speaking and what he was really about, but old Man River becomes the first imagery that comes to mind. Speaker Absolutely. Speaker What what role? Can somebody just just run, check it out like like to check it out, because it is the. Speaker Now we’re rolling. What role did you play in relation to the black community? Speaker Its aspirations, its frustrations. Speaker For me, I know. He represented hope, he represented hope, because if this one man could. Speaker Have dignity on that screen. Others can have dignity, and I think when I think about. You know, being a kid in the 60s, you know, and that’s when I started to really watch these movies, he was one of very few that had dignity. And so to me, it’s the power of example, you know, to say, hey, no one knew what his struggle was in Hollywood, but the work that was coming out was different than anything else. So that’s the impact that registers for me and people that I grew up with. We all said, hey, you know, if you’re going to be an actor, like my friends, when I left for Hollywood, if you’re going to be an actor, you know, go for that to Sidney Poitier, roll, you know, go for that kind of quality because it was like he said, he said he raised the bar very high. And it’s one thing to look and say, well, when I go to Hollywood, I want to be like Stepin Fetchit. I want to be like Mantan Moreland. Nothing’s wrong with them. But then it’s like, well, I don’t know if I want to do that, you know? And then there was Sidney Poitier and everybody says. And so I think he definitely had a huge impact on. Speaker But again, I didn’t know politically what what strings were being pulled at him. I just knew from my eyes it was hard enough to be a great actor and have dignity and have class in a place that was producing images that were totally, totally counter. Speaker Of. Speaker Well, I don’t think you would know this, it said that there was only one black star that. Speaker Why do you think it was made and what kind of pressure do you think was involved in being the one? Speaker I mean, if you want to put it like this on. Speaker You tell me one time. Speaker What did they call the light? What did they call the light? Oh, I can’t remember now. Speaker I can’t remember, but they one of the lights is is kind of a racist term, and he told me once, he said, you know, going into the studio, it would be him and only the shoeshine guy and how sometimes he encountered racism, but he knew he had to rise above it. Speaker It was like he was like the like Jackie Robinson was to baseball. Sidney was to acting. So you’re going to have a lot of people resenting you. I can imagine. And. I don’t know what it was like, but the only thing I can equate it to is the stories I’ve heard about, you know, Jackie Robinson, you know, and his own teammates didn’t want to play with him at times. And, you know, the things that people would heckle. And so, you know, here you have this leading man who happens to be black. And I’m sure that, you know, there were crew cars that probably, you know, didn’t want to deal with him or didn’t like him. I mean, so I know that. I mean, but he’s such a classy man that, you know, it’s like it just came with the territory. Speaker But I know that it’s I mean, you know, it it’s like racism exists now. And I can’t I can’t imagine what it was like in the 50s with all the segregation and everything, colored water fountains, you know, white water fountains. Speaker And then to be this actor that was doing work that wasn’t. In that box, so I don’t know, I mean, but I know it it had to be an incredible amount of pressure. I mean, he had to have the weight of the world on his shoulders because he anybody to talk to to say, hey, man, how’s it going at your studio? How are you dealing with it? You know, and then it’s like there wasn’t a body. Speaker So it’s not like you could call so-and-so over at someone so and say, how’s it for you? You know, I’m doing this part and I’ve got to play the psychiatrist. And everybody else is like, what are you complaining about? Because we wish we could. Speaker So he didn’t have anybody to to really call and compare notes because he was by himself. He was in a league by himself. So I don’t I don’t know how he made it through, I mean, in terms of family and friends. But to really know, you know, to make the decisions, to say no to a PA that back then if he was being paid two hundred and fifty thousand dollars, you know a lot. And to say, no, I can’t do that because I don’t feel comfortable. And so my girls. Who are you not you know that you know and you know and so his career, he only did the films that he really believed in, which is a luxury that a lot of people, you know, don’t have. And he didn’t have either. But he chose to he chose to take the high road instead of the low road and compromise. And he never compromise. And so all of his when you look at all of his films, they all have this incredible life energy. Speaker Do you see a very different person? Huh? Speaker No. OK. Speaker There came a point when Sydney was very strongly criticized. Speaker He and his rule were not seen as representing the realities of the black community. His elegance and the balance he created backfired. He was called a black actor for white audiences. The title of the piece was called Why Whites Love Sidney Poitier So Much. Speaker Why do you think that was? Why do you think that was? Speaker And what do you think about that now with some distance and perspective? Speaker Oh, you know, the sad thing about. Speaker The sad thing about African-American people sometimes is that they want their celebrities to be everything to everybody and no one is going to satisfy everybody. He’s one man and. Speaker Within his own way, he was creating a system, a revolution of sorts. Speaker Oh, sorry, is that no, that’s that’s fine. I was borderline, but yeah. Speaker No, you know, it’s a sad thing when you. Speaker I mean, when you say there was an article and people say, you know, black people say, hey, you know, you know, why do white people like him? And then when you say, well, what? When you really break it down? There are people that are going to be jealous. There are people that are going to be pulling him from nine million ways. And when it was all said and done, if there was one person that represented on a whole new image of African-Americans, it was simply, so how dare someone say, you know, I mean, why do they like him? I mean, this man brought such integrity and. Well, aside from the talent, he put a human face on on on on black people, he put a human face. We laugh, we cry, we get angry. Before that, it was just what we call the happy darky period where it’s like we just all happy, you know, we can’t we can’t do nothing. And here was this man. So I don’t understand when the critics came at him like that, but I think that people wanted maybe him to be more involved in, you know, I don’t know what causes, but I think his work said everything, you know. Speaker I mean, he was the only one. It wasn’t like I was like, this is why do white people like him? The roles he played were different roles. He wasn’t playing. You know, I’m Hollywoods boy, rub my head. He wasn’t playing that. He was like, you know, I’m powerful, I’m strong. And the directors that supported him and the writers that wrote the material wrote these powerful characters that weren’t stereotypes by any stretch of the imagination. Speaker So I really you know, it hurts me to even hear that because this man had a lot of dignity and he had a lot of class and he had a lot of he had a lot of character. And I think that, you know, it’s like there were those who didn’t like Jackie Robinson because they said, why does he have to be in in the big leagues? Why can’t he stay in the Negro Leagues? And maybe that was part of it. Why does Sidney need to be in this? Why isn’t he working in these in the separate cinema? You know, I mean, like Oscar Micheaux. Why doesn’t he I mean, it’s like anytime somebody rises to the top, there’s going to be those that want to yank you back down. It’s the crab crab in the barrel syndrome. And I think Sidney rose so high that there’s going to be people that says he could do. He could do. But, you know, again, the whole world is watching. And what was at the core to me was just this talented artist just wanted to do his work. But along the way, he raised the bar. And I just think that it’s not every day that people come along to raise the bar that make you proud to be who you are or make you, you know, raise your head a little bit higher to say I could do that. And I think that it’s unfair. But I think part of it is crabs in a barrel. I really do. Speaker Well, uh, next came the so-called black exploitation films produced by White Men specifically to attract black audiences and their dollars. Speaker Was this any more real? What was that stuff? Speaker You know what, I hate the term black exploitation, because that was a very first time I got to see, you know, black folks in lead roles kicking butt and being, you know, like all the other heroes that I grew up on from Bogarde to Cagney to John Wayne, you name it, you know. So it was a period where, you know, Fred Williamson was my hero. You know, Pam Grier was my hero. Rudy Ray Moore. It wasn’t. I hate that they always say it was exploitation. No, Hollywood made a lot of money. Speaker Hollywood made a lot of money on those films. And they supply the need. You know, we if you’ve seen it, we’ve only seen, you know, people in that that kind of. Yes. A boss mold. And all of a sudden you see them, you know, I’m the cool guy. I get the girl, you know. I mean, the only time the brothers would get the girls in the movies before was when they were dead. Speaker You know, she was shot. You know, they never save the day. They were always the best friend. Speaker And so here we had a period where you got you got Shaf. You got, you know, you know, African-Americans in lead roles and they fought the bad guys and they won. And I don’t know why that was bad, because as a kid growing up in Chicago, I’d go down to the McVicar and watch theater downtown in Chicago and see three movies for two dollars and you’d see a share. If you see a super fly, you see the mack. And all it was was great entertainment. But only this time the leads were African-Americans, you know what I mean? But I think that it was a good period. I hate the word exploitation because who was being exploited, you know? I mean, it was just that take away that period. The only person that was in a powerful position was Sidney Poitier. So other than that, there were no movies aside from Oscar Micheaux’s films, which were more in the the the 40s and the 30s, you know, I mean, that period. But other than that, there were no other. James Earl Jones is just coming along with the Great White Hope and and the films that he was doing. But that period was a really, I think, one of one of the best periods in African-American cinema, to tell you the truth. I mean, you had films ranging from Claudine to Cooley High to, you know, the legend of [Unrecognized] Charlie. I mean, they were all really well made movies. Speaker Let’s talk about the director, his three comedies with Bill Cosby in the 1970s. Right. So every night piece of the action. Let’s do it again. How did you react to these films? And what were they? Speaker Uptown Saturday night, let’s do it again, a piece of the action. Very funny films, piece of the action was really touching because it had some great performances by the kids. Sheryl Lee Ralph is in that film. And, you know, he and Bill Cosby created a comedy team on par with Martin and Lewis. Any of those? I mean, they had like it was great to see Mr. A Stretch. Speaker I mean, he’s just shown his range that he could you know, I mean, I remember that scene where it’s like he’s in a bar, Cosby. And then as I talk about his mom, talk about his mom a little Seymour, your mama. Speaker I know your mama. Speaker And then Harold Nicholas is playing Little Seymour. Speaker This is classic, you know, I mean, that whole thing. And he showed his rage. He showed that he could do comedy in a way that people always thought that, you know, he’s a serious, serious guy. So the thing that I think it was refreshing. You had a who’s who in the cast, Richard Pryor, playing a detective in one, James Earl Jones and just seeing all of them together was like because here were all these legendary stars and they were just having fun. And then they they showed me as a comedian that you could be really funny, still be classy. And it wasn’t cheap humor. It was just classic comedy and just some really funny I mean, like I said, that whole thing with, you know, because to hear Sidney do your mama jokes, this is funny. Speaker You know, just feel, you know, like your mama is. Speaker So I heard the other day, you know, he just got his rhythm. Speaker So very funny. Just very funny and. All my heroes on screen together, just jamming, you know, is like is like a great jazz session. Speaker All the players write and tune and so interesting for him to go in that direction after all the. Speaker Yeah, well, you know, it’s you know, it shows the mark of a true artist, you know? I mean, he’s a true, you know, and a fine, fine actor. I mean, he could go from, you know, something, you know, so serious, as you know, no way out to. Speaker Let’s do it again. You know, I mean, uptown Saturday night, you know. I mean. I mean. I mean. And then as a director, stir crazy. Speaker I mean, one of the funniest pitches. I mean, oh, man. You talk about pulling the magic out of Gene Wilder and Richard Pryor and Richard Pryor had never been better. And that whole you know, it’s classic now. I mean, you see it on sitcoms and other people. We’ve had we’ve had, you know, that whole thing, Richard. And I mean, you know, it just you know, it just shows just how I mean, that he understands, you know, it in front and behind the camera. Speaker You. Yeah, funny moment. Very funny movie criticism. Speaker It’s I mean I mean, George Sanford Brown. I mean, it was just really well done and and it just made you laugh. And I said he knew how to pull the magic out of Richard and Gene Wilder. And I mean, I think that really started their whole relationship that continued on and on. I mean, with silver, no silver streak as far as I believe. Speaker Yeah, but the magic was there, so I’m finished. Speaker Oh, you would like to say anything else? Speaker I’d like to say you have said it all. Speaker But if there’s no you know, I mean, I just love him. So I mean. I mean, I’m glad you guys are doing this. I mean. Speaker You know, I think. Speaker Hopefully, by taking people on a journey through, you know, Mr. Porter’s life, it’ll encourage and inspire a whole new generation, you know? Speaker And so, you know, I’m just glad to be I mean, like I said, he continues to be an inspiration for me, you know? I mean I mean, his work is he just keeps pushing it. And I don’t even know how old he is, but he just continues to push it. I mean, and he still has it. And so it’s inspiring for me. Speaker I mean, I’m I’m still a baby, so I’m having fun. Thank you. Thank you.

Yes, I am a creator. Yes, I write or draw. Yes, all the art in this post comes from the dreamup software by deviantart. Yes, if you want to see my work use the following link as I am a multimedia artist. https://aalbc.com/tc/profile/6477-richardmurray/?tab=field_core_pfield_11 The recent Mario Bros Movie is a financial hit, a commercial hit. Whether an artististic or creative hit... I don't know. But I realized a use for the uses of an imitative software, some call AI , and I placed as a prompt. African American Mario The following was returned I call this:) Graffit mario:) I have to admit, I am stumped as to where the computer referenced for this. The following was easy, it is white mario side black mario. The black mario has on green but has a fists up. Black mario has the same skin color as white mario though I did say African American and a minority in the African American community in the usa are phenotypically analogous to whites. Then I used African American Mario Bros and the following came up I can see the skin tone has browned up a little. And I think the blue hat African American Luigi is a touch. But what bothers me is peach. I can't be sure , but I think the character top left is supposed to be peach. The facial expressions is caricature, it seems she is angry. The computer deduced that is african american peach. oh wow, its intelligence has a way to go:) For me, I sense a more, Super MArio Hermanos. To paraphrase Richard Pryor, they are cue-ban! Here it seems the comuter deduced an African American Mario Bros will have the same Mario but Luigi is black. IS the computer racists? OR are the data entries into the computer... racists ? haha and I have no idea who the blue hat guy is in this one. The computer here has deduced that the African American MArio Bros will be three not two. Any ideas on the name of the third brother, the one with the blue hat? don't say Hakim!:) And now!!!! African American PRincess PEach!!! After mentioning her I had to see. I get this a little.YOu can see the computer has been fed many various images and the multiversity in Black women's imagery is clearly evident. I don't know which is supposed to be peach but the one on the left to the viewer has a headwrap on. I think the one in the middle may be peach cause she has a crown and the mario colors. This is almost like a Cookie from empire version of PRincess Peach. TO the viewers's right, I don't know. And so I did a little search and then it hit me. The one on the viewers left is princess daisy. The viewer's right must be princess Rosalina. And I didn't realize that the princess in the first mario movie was daisy not peach so that was a luigi tale?:) This is clearly a focus on PRincess PEach. Maybe the other two princesses are behind in bust. But I realize, the guy with the yellowish orange must be African American mushroom:) Poor dreamup , it is clearly an ancient ancestor of the enterprise original series computer. It doesn't know the difference between princess peach and barbie. So it gave both. The computer went the same way as the first director of the wizard of oz. He wanted The WIcked Witch to be sexy faced like the one in Wicked now. But he also wanted Dorothy to be... illusive:) Search "Early Costume Shot for Wizard of Oz Judy Garland" . I am waiting for that padre in V for Vendetta to have his last remittance. and lastly , I thought, lets give the machine , deviantart's dreamup, another pass. This time, the prompt is: " african american princess peach, detailed, precision" 30% similarity and using as reference the image above with african american mushroom I can see the computer has deduced, bling with african american fashion and thus african american peach has these diamond sequences in her dress. Funny how the mushroom kingdom looks, it seems like a baby between the mushroom kingdom and wakanda but anyway. again, this computer system, Deviantart Dreamup, is clearly racists! hahaha , should I cancel this computer program? Why is so angry. And finally,the lack of specificity on my part forced the computer program to design on its own and absent certainty or clarity, which it doesn't have, it produced this. I have no idea. But the computer is convinced that african american peach will wear a lavender About A.I. and Copyright

1)What defines a Black comic book to you, no answer is wrong? 2)From your definition of Black Comic book, which will you like to see made into a video game?

BLACK GAMES ELITE QUESTIONS 1)What defines a Black comic book to you, no answer is wrong? 2)From your definition of Black Comic book, which will you like to see made into a video game? I ask the two questions cause the point of Black Games Elite is to create, not to preach or talk. Website https://www.schomcom.org/ Registration https://www.eventbrite.com/e/the-schomburg-center-s-11th-annual-black-comic-book-festival-registration-525127088257 SCHEDULE FRIDAY, APRIL 14 10:30 AM EST Black Comic Futures (Curated by Black Comics Collective) Little Apple Universe Screenings An interactive discussion and look inside the TV shows and school curriculum activities of Little Apple Universe. Featuring Riley Wilson, Little Apple Universe Young Actors Black Comic Future Panel Youth comic book artists discuss their original comic and creative process. Featuring AK Lovelace, Harlem School of the Arts 1 PM EST Banned Books and Diversity in Comics Book bans across the U.S. are targeting graphic novels and comic books, especially those that take up issues of race, gender, and sexuality. This will be a conversation about how to advocate for stories that represent the full range of experiences for youth and adults. Featuring Joe Illidge, Dr. Monique Couvson, Mike Haynes-Pitts, Edgardo Miranda-Rodriguez, Kadia Tubman 3 PM EST The Creator Symposium Hosted by Women in Comics Collective International, this conversation will explore the ways in which multimedia and comic book professionals working in comics can continue to grow and thrive in an ever-changing industry. Featuring Regine Sawyer, Janicia Francis, Shauna Grant, Javier Cruz Winnik, Barbara Brandon-Croft, Ben Ha Meen 5 PM EST The Business of Comics and Sequential Narrative A conversation on the business of comics and moving in the industry beyond just publishing. Featuring TJ Sterling, Alitha Martinez, Shawn Martinbrough, Gamal Hennesy, Dedren Snead 6:45 PM EST Access Guide's Black Comics Trivia Challenge! Access Guide to the Black Comic Book Community the first SchomCom Trivia Night. This “Jeopardy” style event features the panelists and audience members in a nerd-off of Black characters and events from comics, tv, movies, and the culture, for ultimate bragging rights. Attendees will be able to play along on their phones or tablets to see if they are as knowledgeable as our panelists. Featuring Tatiana King, Karama Horne, John Jennings, Regine Sawyer SATURDAY, APRIL 15 11 AM EST How to Draw Black Superheroes & Comics Join Tim Fielder (Infinitum, DieselFunk Studios) for a master class on drawing comics. This program is open to all ages, but it is especially geared towards young people ages 5 and up. Featuring Tim Fielder 1 PM EST Speaking for Ourselves: Black Women & Marginalized Voices in Comics A conversation hosted by the Nerds, Erbs and Words podcast featuring industry experts about the nuances of Black women, LGBTQ, and other marginalized voices in comics and storytelling -- voices that mainstream media often misses. Featuring Erika Hardison & Keisha Parks (Nerds, Erbs and Words), Shauna Grant, Karama Horne, Elizabeth Colomba, Barbara Brandon-Croft 3:30 PM EST Black in the Future: Afrofuturism in Comics & Graphic Novels A conversation highlighting the powerful relationship between Afrofuturism, comics, and graphic novels. Featuring John Jennings, Ytasha Womack, Tim Fielder, Ayize Jama-Everett 5:30 PM EST Cosplay Showcase The SchomCom Cosplay Showcase is open to attendees of all ages and skill levels. The showcase will take place on Saturday, April 15 at 6 PM. If you want to participate, you can sign up at the Schomburg Center on Friday, April 14 from 10 AM - 8 PM, or Saturday, April 15 from 10 AM- 3 PM. The last registration for the cosplay showcase is at check-in on Saturday, April 15. Featuring Guest DJ Greg Wilson (@gregorywilson) PRIOR COSPLAY https://www.schomcom.org/cosplay MY THOUGHTS I have to admit. I have become disenchanted with this festival. And I will be blunt, I have become disenfranchised with the NY Comiccon or the MakersFaire in NYC. Maybe it is just the financial scenario of NYC. But, all to often, the supposed point of the convention or fair is lost. The Schomburg Black Comic Book Festival isn't about Black Comic Books. It is Multiracial or multiculturalism in aspects of the Comic Book Industry. It isn't about Black explicitly. I daresay it is more about female representation, that just happens to be black , then about black representation. And that isn't a problem. But, it calls itself a Black Comic Book fair. And, they will have a virtual gallery for black comics, which is just like NYComiccon's artist alley, which used to be the entire NY comiccon, is now a small aside. It's not a comiccon . It is a movie/video game, entertainment convention. And same with the Makersfaire. It is a 3d printing, drone fair. True makers get these little areas to show their craft. I just wish all conventions and starting with Black ones, will be more honest about what they are here for. If I administered a Black Comic Book Convention, it will be a simple thing. Get Black comic books! I wish the Schomburg would mirror itself off of the Komikku Māketto in Nippon, commonly called Japan. Get rid of all the Black preachers who want to talk about this and talk about that. I will love to see how many Black Comic Books are out there. Something tells me, far fewer black comic books are available today, than Black artists who say they want to make a comic.

MY COMMENT but i ask you, what should the state of white priviledge be ? Why wouldn't a majority of whites in a state, not demand advantages in their favor when that was and is the status quo or what their forebears made the usa for? IN AMENDMENT One of the problems I have with so many in the USA is they don't seem to comprehend that many others in the USA don't share their view and no true majority exists. Yes, some try to talk about the legal code. But the legal code of the usa was created by people whose actions most cancellers in the USA today will consider worthy of being cancelled. In the black community in the USA the variance between blacks who want equality side blacks who want , to be blunt, superiority has been one of the problems. Not because one is right or wrong but because the goals have no middle ground and that extends into the black people who desire a form of communalism over individual rights in the black community aside the black people who desire individual freedom in the black community over communal function. Unity between goals when one wants to go left while the other right. The two goals are polar opposites. Those who want advantage side those who do not, in all races: phenotypical/gender/age/religion/language/philosophy/financial standing, or other in the USA is the main battle in the USA or each community in the USA but one that can not be one without violence inevitably.

Leo D. Sullivan, an Emmy-winning pioneer in animation with a career of over 50 years and work on dozens of cartoons, has died. He was 82. Sullivan died March 25 of heart failure at Kaiser Permanente West Los Angeles Medical Center. Throughout his career, Sullivan helped bring characters to life through his animation, storyboarding, directing and producing. His work spanned numerous television shows, including “Hey, Hey, Hey, It’s Fat Albert,” “The Incredible Hulk,” “My Little Pony” and “Flash Gordon,” along with companies like Hanna-Barbera, Warner Brothers and Spunbuggy Works. Sullivan contributed to the opening animation on “Soul Train” which premiered in 1971. The Lockhart, Texas, native moved to Los Angeles in 1952, and soon entered the industry running errands for “Looney Tunes” animator Bob Clampett. In the 1960s, Sullivan joined former Disney animator Floyd Norman to help co-found Vignette Films, a company that created educational films for U.S. students about historic Black figures. The pair would go on to found AfroKids, a website and streaming service with a mission of providing “a stellar experience for the whole Black family.” More recently, Sullivan launched his own foundation, Leo Sullivan Multimedia Inc. Sullivan has twice been awarded by the Black Filmmakers Hall of Fame in Oakland, Calif. and had his artistic work displayed in San Francisco Cartoon Museum and the Los Angeles African American Museum. He also taught classes in digital animation and 2D animation for three years at the Art Institute of California-Orange County. He is survived by his wife Ethelyn, daughter Tina Coleman, and son Leo D. Sullivan Jr. Afrokids https://afrokids.com/ Article reference https://www.nbcnews.com/news/nbcblk/leo-d-sullivan-animator-fat-albert-flash-gordon-dies-82-rcna78508

@KENNETH yes I know and most in AALBC or most in the USA have the same definition.

@KENNETH your first question is provocative, for the work. why? Your first question does three things. These three things are merely displayed for multilog, not to make a relevant point. 1) it separates the word race or class in terms of their definition. when I use race or class I use them interchangeably. Race in the usa, for most people is phenotypical race. but religious race/gender race/financial race/age race also exist. Race is an unbounded word for me. So when I use the word race I am not suggesting it refers to the phenotypical only. In parallel, Class in the usa , for most people is financial class. But religious class/gender class/phenotypical class/age class also exist. Class is an unbounded word for me. When I use class or race, I see them equal in value to the words rank , order, classification, status, culture, heritage which all have the same root definition, at least to me; Arrangements based on a value. Yes heritage is what you carry, the value is your forebears way of life. Culture is what you grow, the value is your choice of way of life. Status is a label, the value is how others mark you. But all of said words are arrangements based on a value. 2) you dont' mention it explicitly, but you place phenotypical race/class under or less than financial class/race. Personally, I think the emphasis or potency of orders/ranks/races/classes between themselves is based on a given populace to mull over. In the USA many people are fiscal capitalist, not all, but many. But the problem is many people in the USA are socialist, and socialism at its core is a system of one financial race. The worker. The problem with socialism is, the landless vagrant when they have a house may want more. And socialism doesn't have a financial upward mobility. It doesn't have downward, but it doesn't have upward. financial risk+reward is absent. Thus why most in humanity speak in socialist terms, the 1% in every country in humanity is majority fiscal capitalist. So, it financial orders greater than phenotypical orders. In my historical view, no. But, it all depends on the time and place. In the USA many, across class/racial lines want to create a consensus of finance>phenotype. but why? 3) why does a multiclassist or multiracial community in the USA accept the concept of financial arrangements being superior to non financial arrangements? They feel it is the solution to peace. The USA is too multicultural in religion, phenotpye, language, gender, age, to use one of those factors for the majority. BUt, many in the USA feel that the commonly called middle class, is a financial race a majority can be a part of in the usa. Sequentially, financial race is superior to phenotypical class for said folk. Now, I argue, the USA has never had a majority above poor and below rich. The majority in the usa have always been poor. Before the war between the states that is unquestionable. After is where statistical assessment comes into play. The USA has been in the business of using statistical assessment, which is arithmetically proven can be used to attest to anything, to suggest a middle financial class has existed and needs to be reclaimed. What is the relevant point? None of what I said before. I did say the prior wasn't relevant, just for multilog. The relevant point is aracial. It is not going beyond race into class. As you alluded to, race/class go hand in hand. But, systems of classification always go hand in hand in any government in humanities history. The reality is, governments are themselves a class or race. Which undercuts why those who try to get away from races or classes ala aracial/aclassist usually fail. To restate, the usa is a fiscal capitalistic country, which demands poeple in it exists in races/clases/orders based on the trading of goods. Those with the most as you said ... ...which I concur to, in the modern usa , maintain the system of inequality, though I add it is also those that do not have who want to be in the advantaged inequal position as well. But the question I posed to cynique is , maybe the flaw isn't that the have's abuse the have not, but the legal system in the usa, suggests that the have's shouldn't. I think the problem in the USA is the legal system is aracial or aclassist or at its core absent an arrangement. I daresay the usa legal structure allows for global citizenry. But the functional problem is the populace in the usa or the larger humanity is using a system of intermingled races/classes to align itself. which doesn't fit the legal system of the usa, and thus the constant clashes. The legal system is the problem. Most in the USA don't desire it but live under it, don't live by it, but live under it. and that creates problems when it comes to how privilege is approached.

@Troy well, at some point one has to chose to self or the group with no option in between and in human history either are chosen but the one not chosen always suffers. Well, you say the wbe wasn't designed to work this way but the web was designed to be flexible. As always people forget that nothing in the usa starts equal. sequentially, it doesn't grow equal. And I argue the people in control comprehend this. Yes, the internet's design is absent manipulation more collaborative, but the internet's design is open to manipulation and sequentially will be manipulated. I comprehend your point but I see the current internet as inevitable. yeah, well you are doing great @Troy the key is to be able to continue. getting the masses requires changes in human community that are not happening at the moment

@Cynique when i look at the history of the USA. The community of people in the USA who publicly+functionally act aracial + equal in treating every other human being has grown since the time of the thirteen colonies. the problem is, not all blacks , not all whites, not all native americans, not all men, not all women, not all christians, not all muslims, not all anglos, not all latinos, not all elders, not all children, have embraced the idea of equality for all races. And the reason is simple. the people who have financially profited in the usa the most , always take advantage of others. always. Now anyone can argue, that happens in human history , anywhere. but the problem is what you allide to in your last sentence in your prose Cynique. You talk of rights. that is the USA problem. The USA is like all other governments in human history , based on one group taking advantage of others, whether internally or externally or both. but, the USA has the oldest legal code among current governments in humanity where equality is inferred as a universal right. So if you look at historical fact aside the usa legal projection, the solution is to end the idea that equality should be a right. The preamble of the consitution of the USA written by white slaveowners is the problem. the community of people in the usa who adhere by it, while larger than ever before, are not necessarily the majority populace in the usa.

haha @Pioneer1

@Troy i concur that unity of a purpose is a foundation for any organization that wants cohesive members. I know it isn't as straightforward as you said it, but when I think of unity it is a collectiveness about a thing while organization to me is a thing structured about a thing. they are not the same for me, I think both have equal value. Collectiveness + Structure is ideal and rare in most settings. To google, being able to print back issues. When Ebony was sold to clearview one wonders what they signed or agreed to. Firms that buy other firms in financial distress have a sell mentality. Clearview wants to break up and sell what it can. It wasn't and isn't looking to grow anything. They are just a fancier shark from the 1970s and 1980s. http://www.clearview-group.com/services.html So more than likely the time ebony was owned by clear view have google the opportunity to show the backlog, let alone anything that happened while Johnson, the original owner was dead and Ebony was owned by his relatives, I assume. yeah, bridgeman is one of many blacks in the entertainment field who found themselves at the growing fast food franchise industry at the right time. Bill Cosby was a big bottler. A number of black entertainers invested in the fast food industry in the 70s/80s which was a great time, during the 1980s in particular. Fast food places would explode all over the place and people like bridgeman who actually had money and was black could afford to start one or two and go from there. Now he is in the Black owned investment firm market, which is relatively hot right now. To the web being siloed, that is the way it should be , shouldn't it? Most human beings are not online. But as the populace grows online, it will make outreach harder, which makes sense to me. Let alone that the social firms online are many and even though some may be deemed small they tend to have millions .

MY COMMENT I read the article. Franlin leonard said:"when you're accustomed to privilege, equality feels like oppression" but he chose the wrong phrase. He talks about feelings but the issue is desires. The equation is simple. Fiscal capitalism in the USA doesn't work on merit or knowledge or erudition or wisdom. It works on inheritance + opportunity. Whites are accustomed to a greater inheritance + opportunity than any other. That is why their forebears killed the native american for this land and enslaved blacks, no matter where we came from, to till it. This was to provide their future generations greater inheritance + opportunity. But whites comprehend what equality is, beyond what it feels like. Equality financially is a lessening of inheritance + opportunity for those getting the most. It is a simple financial loss. Black people do ourselves a disservice making equality an issue of feelings, and not a financial loss, for whites. Black people want equality not to feel free, freedom doesn't come from equality. Black people want equality to gain more inheritance + opportunity. Another issue is the word slavery is never mentioned in these sort of articles. I quote the article:"Hierarchy-flattening programs like affirmative action wouldn't be necessary if Black Americans received equal opportunities. " Black Americans were enslaved to white americans, that heritage is the basis to inequality. The USA didn't start with Native Americans+Blacks+Whites free and equal and Blacks+Native Americans had their equality taken away by whites. The USA was born with Blacks+ NAtive Americans enslaved/murdered/oppressed. It wasn't like when the war between the states ended blacks+whites were equal. The author makes it seem like the modern era from 1968 to now matters. But it doesn't. The inequality black people refer to is American, is historic, is a heritage. I think the inability of Black people to mention fiscal capital context when it comes to the phenotypical racial relationships as well as the inability or lack of desire to connect slavery to the modern situation are dysfunctions.

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Copyright Registration Guidance: Works Containing Material Generated by Artificial Intelligence A Rule by the Copyright Office, Library of Congress on 03/16/2023 HTML https://www.federalregister.gov/documents/2023/03/16/2023-05321/copyright-registration-guidance-works-containing-material-generated-by-artificial-intelligence PDF https://www.govinfo.gov/content/pkg/FR-2023-03-16/pdf/2023-05321.pdf Printed version: PDF Publication Date: 03/16/2023 Agencies: Copyright Office Dates: This statement of policy is effective March 16, 2023. Effective Date: 03/16/2023 Document Type: Rule Document Citation: 88 FR 16190 Page: 16190-16194 (5 pages) CFR: 37 CFR 202 Document Number: 2023-05321 AGENCY: U.S. Copyright Office, Library of Congress. ACTION: Statement of policy. SUMMARY: The Copyright Office issues this statement of policy to clarify its practices for examining and registering works that contain material generated by the use of artificial intelligence technology. DATES: This statement of policy is effective March 16, 2023. FOR FURTHER INFORMATION CONTACT: Rhea Efthimiadis, Assistant to the General Counsel, by email at meft@copyright.gov or telephone at 202-707-8350. SUPPLEMENTARY INFORMATION: I. Background The Copyright Office (the “Office”) is the Federal agency tasked with administering the copyright registration system, as well as advising Congress, other agencies, and the Federal judiciary on copyright and related matters.[1] Because the Office has overseen copyright registration since its origins in 1870, it has developed substantial experience and expertise regarding “the distinction between copyrightable and noncopyrightable works.” [2] The Office is empowered by the Copyright Act to establish the application used by applicants seeking registration of their copyrighted works.[3] While the Act identifies certain minimum requirements, the Register may determine that additional information is necessary for the Office to evaluate the “existence, ownership, or duration of the copyright.” [4] Because the Office receives roughly half a million applications for registration each year, it sees new trends in registration activity that may require modifying or expanding the information required to be disclosed on an application. One such recent development is the use of sophisticated artificial intelligence (“AI”) technologies capable of producing expressive material.[5] These technologies “train” on vast quantities of preexisting human-authored works and use inferences from that training to generate new content. Some systems operate in response to a user's textual instruction, called a “prompt.” [6] The resulting output may be textual, visual, or audio, and is determined by the AI based on its design and the material it has been trained on. These technologies, often described as “generative AI,” raise questions about whether the material they produce is protected by copyright, whether works consisting of both human-authored and AI-generated material may be registered, and what information should be provided to the Office by applicants seeking to register them. These are no longer hypothetical questions, as the Office is already receiving and examining applications for registration that claim copyright in AI-generated material. For example, in 2018 the Office received an application for a visual work that the applicant described as “autonomously created by a computer algorithm running on a machine.” [7] The application was denied because, based on the applicant's representations in the application, the examiner found that the work contained no human authorship. After a series of administrative appeals, the Office's Review Board issued a final determination affirming that the work could not be registered because it was made “without any creative contribution from a human actor.” [8] More recently, the Office reviewed a registration for a work containing human-authored elements combined with AI-generated images. In February 2023, the Office concluded that a graphic novel [9] comprised of human-authored text combined with images generated by the AI service Midjourney constituted a copyrightable work, but that the individual images themselves could not be protected by copyright.[10] The Office has received other applications that have named AI technology as the author or co-author of the work or have included statements in the “Author Created” or “Note to Copyright Office” sections of the application indicating that the work was produced by or with the assistance of AI. Other applicants have not disclosed the inclusion of AI-generated material but have mentioned the names of AI technologies in the title of the work or the “acknowledgments” section of the deposit. Based on these developments, the Office concludes that public guidance is needed on the registration of works containing AI-generated content. This statement of policy describes how the Office applies copyright law's human authorship requirement to applications to register such works and provides guidance to applicants. The Office recognizes that AI-generated works implicate other copyright issues not addressed in this statement. It has launched an agency-wide initiative to delve into a wide range of these issues. Among other things, the Office intends to publish a notice of inquiry later this year seeking public input on additional legal and policy topics, including how the law should apply to the use of copyrighted works in AI training and the resulting treatment of outputs. II. The Human Authorship Requirement In the Office's view, it is well-established that copyright can protect only material that is the product of human creativity. Most fundamentally, the term “author,” which is used in both the Constitution and the Copyright Act, excludes non-humans. The Office's registration policies and regulations reflect statutory and judicial guidance on this issue. In its leading case on authorship, the Supreme Court used language excluding non-humans in interpreting Congress's constitutional power to provide “authors” the exclusive right to their “writings.” [11] In Burrow-Giles Lithographic Co. v. Sarony, a defendant accused of making unauthorized copies of a photograph argued that the expansion of copyright protection to photographs by Congress was unconstitutional because “a photograph is not a writing nor the production of an author” but is instead created by a camera.[12] The Court disagreed, holding that there was “no doubt” the Constitution's Copyright Clause permitted photographs to be subject to copyright, “so far as they are representatives of original intellectual conceptions of the author.” [13] The Court defined an “author” as “he to whom anything owes its origin; originator; maker; one who completes a work of science or literature.” [14] It repeatedly referred to such “authors” as human, describing authors as a class of “persons” [15] and a copyright as “the exclusive right of a man to the production of his own genius or intellect.” [16] Federal appellate courts have reached a similar conclusion when interpreting the text of the Copyright Act, which provides copyright protection only for “works of authorship.” [17] The Ninth Circuit has held that a book containing words “authored by non-human spiritual beings” can only qualify for copyright protection if there is “human selection and arrangement of the revelations.” [18] In another case, it held that a monkey cannot register a copyright in photos it captures with a camera because the Copyright Act refers to an author's “children,” “widow,” “grandchildren,” and “widower,”—terms that “all imply humanity and necessarily exclude animals.” [19] Relying on these cases among others, the Office's existing registration guidance has long required that works be the product of human authorship. In the 1973 edition of the Office's Compendium of Copyright Office Practices, the Office warned that it would not register materials that did not “owe their origin to a human agent.” [20] The second edition of the Compendium, published in 1984, explained that the “term `authorship' implies that, for a work to be copyrightable, it must owe its origin to a human being.” [21] And in the current edition of the Compendium, the Office states that “to qualify as a work of `authorship' a work must be created by a human being” and that it “will not register works produced by a machine or mere mechanical process that operates randomly or automatically without any creative input or intervention from a human author.” [22] III. The Office's Application of the Human Authorship Requirement As the agency overseeing the copyright registration system, the Office has extensive experience in evaluating works submitted for registration that contain human authorship combined with uncopyrightable material, including material generated by or with the assistance of technology. It begins by asking “whether the `work' is basically one of human authorship, with the computer [or other device] merely being an assisting instrument, or whether the traditional elements of authorship in the work (literary, artistic, or musical expression or elements of selection, arrangement, etc.) were actually conceived and executed not by man but by a machine.” [23] In the case of works containing AI-generated material, the Office will consider whether the AI contributions are the result of “mechanical reproduction” or instead of an author's “own original mental conception, to which [the author] gave visible form.” [24] The answer will depend on the circumstances, particularly how the AI tool operates and how it was used to create the final work.[25] This is necessarily a case-by-case inquiry. If a work's traditional elements of authorship were produced by a machine, the work lacks human authorship and the Office will not register it.[26] For example, when an AI technology receives solely a prompt [27] from a human and produces complex written, visual, or musical works in response, the “traditional elements of authorship” are determined and executed by the technology—not the human user. Based on the Office's understanding of the generative AI technologies currently available, users do not exercise ultimate creative control over how such systems interpret prompts and generate material. Instead, these prompts function more like instructions to a commissioned artist—they identify what the prompter wishes to have depicted, but the machine determines how those instructions are implemented in its output.[28] For example, if a user instructs a text-generating technology to “write a poem about copyright law in the style of William Shakespeare,” she can expect the system to generate text that is recognizable as a poem, mentions copyright, and resembles Shakespeare's style.[29] But the technology will decide the rhyming pattern, the words in each line, and the structure of the text.[30] When an AI technology determines the expressive elements of its output, the generated material is not the product of human authorship.[31] As a result, that material is not protected by copyright and must be disclaimed in a registration application.[32] In other cases, however, a work containing AI-generated material will also contain sufficient human authorship to support a copyright claim. For example, a human may select or arrange AI-generated material in a sufficiently creative way that “the resulting work as a whole constitutes an original work of authorship.” [33] Or an artist may modify material originally generated by AI technology to such a degree that the modifications meet the standard for copyright protection.[34] In these cases, copyright will only protect the human-authored aspects of the work, which are “independent of” and do “not affect” the copyright status of the AI-generated material itself.[35] This policy does not mean that technological tools cannot be part of the creative process. Authors have long used such tools to create their works or to recast, transform, or adapt their expressive authorship. For example, a visual artist who uses Adobe Photoshop to edit an image remains the author of the modified image,[36] and a musical artist may use effects such as guitar pedals when creating a sound recording. In each case, what matters is the extent to which the human had creative control over the work's expression and “actually formed” the traditional elements of authorship.[37] IV. Guidance for Copyright Applicants Consistent with the Office's policies described above, applicants have a duty to disclose the inclusion of AI-generated content in a work submitted for registration and to provide a brief explanation of the human author's contributions to the work. As contemplated by the Copyright Act, such disclosures are “information regarded by the Register of Copyrights as bearing upon the preparation or identification of the work or the existence, ownership, or duration of the copyright.” [38] A. How To Submit Applications for Works Containing AI-Generated Material Individuals who use AI technology in creating a work may claim copyright protection for their own contributions to that work. They must use the Standard Application,[39] and in it identify the author(s) and provide a brief statement in the “Author Created” field that describes the authorship that was contributed by a human. For example, an applicant who incorporates AI-generated text into a larger textual work should claim the portions of the textual work that is human-authored. And an applicant who creatively arranges the human and non-human content within a work should fill out the “Author Created” field to claim: “Selection, coordination, and arrangement of [describe human-authored content] created by the author and [describe AI content] generated by artificial intelligence.” Applicants should not list an AI technology or the company that provided it as an author or co-author simply because they used it when creating their work. AI-generated content that is more than de minimis should be explicitly excluded from the application.[40] This may be done in the “Limitation of the Claim” section in the “Other” field, under the “Material Excluded” heading. Applicants should provide a brief description of the AI-generated content, such as by entering “[description of content] generated by artificial intelligence.” Applicants may also provide additional information in the “Note to CO” field in the Standard Application. Applicants who are unsure of how to fill out the application may simply provide a general statement that a work contains AI-generated material. The Office will contact the applicant when the claim is reviewed and determine how to proceed. In some cases, the use of an AI tool will not raise questions about human authorship, and the Office will explain that nothing needs to be disclaimed on the application. B. How To Correct a Previously Submitted or Pending Application Applicants who have already submitted applications for works containing AI-generated material should check that the information provided to the Office adequately disclosed that material. If not, they should take steps to correct their information so that the registration remains effective. For applications currently pending before the Office, applicants should contact the Copyright Office's Public Information Office and report that their application omitted the fact that the work contained AI-generated material.[41] Staff will add a note to the record, which the examiner will see when reviewing the claim. If necessary, the examiner then will correspond with the applicant to obtain additional information about the nature of the human authorship included in the work. For applications that have already been processed and resulted in a registration, the applicant should correct the public record by submitting a supplementary registration. A supplementary registration is a special type of registration that may be used “to correct an error in a copyright registration or to amplify the information given in a registration.” [42] In the supplementary registration, the applicant should describe the original material that the human author contributed in the “Author Created” field, disclaim the AI-generated material in the “Material Excluded/Other” field, and complete the “New Material Added/Other” field. As long as there is sufficient human authorship, the Office will issue a new supplementary registration certificate with a disclaimer addressing the AI-generated material.[43] Applicants who fail to update the public record after obtaining a registration for material generated by AI risk losing the benefits of the registration. If the Office becomes aware that information essential to its evaluation of registrability “has been omitted entirely from the application or is questionable,” it may take steps to cancel the registration.[44] Separately, a court may disregard a registration in an infringement action pursuant to section 411(b) of the Copyright Act if it concludes that the applicant knowingly provided the Office with inaccurate information, and the accurate information would have resulted in the refusal of the registration.[45] V. Conclusion This policy statement sets out the Office's approach to registration of works containing material generated by AI technology. The Office continues to monitor new factual and legal developments involving AI and copyright and may issue additional guidance in the future related to registration or the other copyright issues implicated by this technology. * * * * * Dated: March 10, 2023.

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