Pigeon Spins Featuring an Interview with SHARON.

SHARON. - Trapped In A Tower By An Incel and Group of Organized Crime

The project is a deeply personal and politically charged body of work rooted in SHARON.’s lived experience with the AI funding ecosystem—beginning with her involvement in AI Grant, which she credits with saving her life, and continuing through the subsequent appropriation of her non–AI-generated intellectual property by Silicon Valley figures and its implementation in systems that influenced financial markets and Wall Street activity.

Interview with SHARON.

(º)> You describe Trapped In A Tower By An Incel and Group of Organized Crime as both an electronic record and a disclosure artifact. What does “disclosure” mean to you in this context?

It is “disclosure” in an effort to disseminate information that has not been shared with the public by those I feel are obligated to do so. I refer to it as “leveraging the tech against the tech.” One of the people mentioned is the co-founder of the music generator I used to create this record. I didn’t actually set out to do a record. It culminated as such. And when I saw that more platforms were open to facilitating it, I did it a bit flippantly. I had already made the tracks. Except for the title track. And since those within what’s mentioned in the title track have not disclosed it, I felt I had no other choice. I have told them repeatedly that I would “leverage and leverage until they told the truth.” Which is how this record even became a record. As an Artist, I would never have imagined that I’d release such a product. At least not like this, utilizing a music generator and not even my own voice (it’s my voice, AI-generated) - it’s unnerving.

(•)> You’ve said this record had to be AI-generated because AI was both the context and the

catalyst. At what point did you realize there was no other honest format for this story?

I may have answered that, but I’ll expand. The situations and events I’ve experienced have left me with very little to produce my own work. But also, this wasn’t meant to be what it became. I tend to be passive, but do something when all other efforts are exhausted. It’s not that I haven’t created tracks like these “disclosures” in the past. I have. There’s Revelations, Zombie Apocalypse, Big Tech Technology, and even Pussy Tight. Being suppressed by American labels and platforms, it hasn’t been easy. There’s a deeper story behind why I made each track. And they came up at different times for different reasons. It was purely out of frustration that I even did it.

(•)> The EP draws directly from your lived experience within the AI funding ecosystem. How did

transforming that experience into music affects your understanding of what happened?

I don’t think it expanded much, if anything other than when you push, they push back harder. Silicon Valley is not made up of normal people. Neither is the music industry. A lot of people I thought were a little crazy in the past, like Dave Chappelle, I can see with a lot more clarity what he went through. The people at the top are no joke, and even when you speak, they will find a way to twist it. It’s not until a great public outcry that press and govt officials act. Bill Cosby was victimizing women for decades. It’s not like the press, the entertainment industry, and law enforcement didn’t know. They did.

It took some random bootleg video of a comedian that went viral, I believe, like a year after it was posted, for anything to be done in the press. To me, music is the one thing that has been a force for cultural change, and I hope that’s still the same. But when the amplifiers and the gatekeepers are so tightly knit, it’s very difficult to get through with any message. I can say that if you’re saying

something true, you’ll find it difficult to get through. When you’re bananas, you can get through just fine because there are a lot of bananas people out there saying a lot of crazy stuff, and they have no problem with disseminating it.

(•)> How do you respond to skepticism around AI-generated music when the work itself critiques

systems of power and appropriation within tech?

I am absolutely skeptical and not exactly in support of how music groups are replacing artists with Ai Generated music. Music groups have been the gatekeepers and the ones behind the very algorithms that the music generators utilize. I personally find models to be trained with too similar sounds, like the female vocals, and that it composes such similar-sounding products because it’s fed the same junk we’ve been fed for decades by the same old dudes who told us what to like and what not to like, and who can get in and who can’t.

(•)> Music Cures AI sits at the intersection of healing, technology, and accountability. How does this EP extend or challenge the mission of the platform?

My mission was always to utilize neural networks and vibration for digital prescriptions; this has become more of a holistic system as my life’s work, a sustainable economic ecosystem (SONS, Share-On Network System), has become part of it. As well as So-Li (Social Libertarianism, a decentralized governance system that runs on the SONS framework), Vibrational Intelligence, utilizing data for predictive models, Alchemical Intelligence, a necessary rebrand for AI, Hackers Hospital, a recovery program for addictions, including hacking, which is a serious addiction no one talks about. Harnessing vibration for healing and predictive models can be done through data. Music Cures AI was never meant to be interpreted as a music generator. It’s a statement, not a product.

(•)> Your past work often blurs performance, experiment, and provocation. Where does this project sit emotionally compared to earlier releases like Revelations or Look (Silicon Valley Mix)?

Look (Silicon Valley Mix) was actually the demo, or one of them, for my Batch 2 submission to Ai Grant. It was never fully finished or polished. It was an effort to say, “Hey, look at me! I pulled myself out of a state of retardation utilizing creativity and music to rebuild my resilience after (and during) an incredibly abusive “relationship.””Revelations made me mad after not being funded, realizing that it’s more about being a “Tech Bro” and other factors than it is about “Making the world a better place.” It all comes down to oil and war. (sigh) I had no idea at the time I made Revelations how accurate it was!

(•)> The title is confrontational and unsettling. What role does discomfort play in how you want

listeners to engage with the project?

I titled it exactly what I said in my Batch 4 Founder Intro: it is Ai Grant. I figured if they wouldn’t tell

the world, I would. It got their attention; maybe it’d get the attention of others, too.

(•)> How do you differentiate between using AI as a creative collaborator versus documenting harm that occurred through AI-driven systems?

I personally do not yet see products in the AI generation world that are a valuable mix of collaboration between AI and the Creative. I have ideas, but I can’t say them because a certain someone likes to implement them without credit or compensation.

(•)> In what ways do you see this EP as applied research rather than purely an artistic statement?

The applied research here is whether the algorithmic codes work; this would spread. It’d grab people’s attention. I do get a lot of hate mail. That’s clearly from people who don’t read the purpose in the press release or actually want to integrate with it. I find it ironic, though. These people are often the gatekeepers of the pas,t and they are angry that their job is on the chopping block.

(•)> What conversations do you hope this record forces within the music industry, tech sector, or

funding world?

I hope to see MCAI funded by people who haven’t yet lost their minds and are open to exploring healthy ways to integrate and sustain technology at the same pace as we’re capable of adapting. I hope that music isn’t just seen as a form of entertainment but a tool and a hack to the limbic system and HPA axis to help in ways we cannot yet imagine. I hope the industries of the past fall apart, as they have not been doing a good job at giving us much of anything but junk and telling us what to like and what not to like, who can have a platform and who can’t. Social media ruined this further.

Labels don’t promote; they just want your followers. What happens when you’re suppressed by the platforms? What if you’re not a fame whore? The way we’ve become slaves to algorithms and what it tells us to do is sad. I hope we can restore autonomy back to humanity and help them heal, create, and express without fear.

(•)> That's all, Folks! Check out SHARON. on the Pigeon Spins Playlist or