Monday, February 9, 2026

Essential Knowledge for Journalists Reporting on AI, Creativity and Copyright; Webinar, National Press Foundation: Thursday, February 19, 2026 12 PM - 1 PM EST

Webinar, National Press Foundation: Essential Knowledge for Journalists Reporting on AI, Creativity and Copyright 

"Generative AI is one of the biggest technological and cultural stories of our time – and one of the hardest to explain. As AI companies train models on news articles, books, images and music, reporters face tough questions about permission, transparency and fair use. Should AI companies pay when creative works are used to train their AI models? Where’s the line between innovation and theft?

The National Press Foundation will host a webinar to help journalists make sense of the evolving AI licensing landscape and report on it with clarity and confidence. We’ll unpack what “AI licensing” really means, how early one-off deals are turning into structured revenue-sharing systems, and why recent agreements in media and entertainment could shift the conversation from conflict to cooperation.

Join NPF and a panel of experts for a free online briefing from 12-1 p.m. ET, Feb. 19, 2026. The practical, forward-looking discussion examines how trust, creativity, and innovation can coexist as this new era unfolds and will equip journalists with plain-language explanations, real-world examples, and story angles that help readers understand why AI licensing matters to culture, innovation and the creative ecosystem they rely on every day."

Russian figure skater changes Olympic music over copyright; Associated Press via ESPN, February 8, 2026

Associated Press via ESPN; Russian figure skater changes Olympic music over copyright

"Russian figure skater Petr Gumennik has been forced to change his short program music two days before the men's program at the Milan Cortina Olympics after joining a growing list of figure skaters dealing with copyright issues.

Gumennik, who is participating as a neutral athlete at the Winter Games, had been working all season to music from "Perfume: The Story of a Murderer," a psychological thriller film. But the 23-year-old Russian national champion learned in the past few days that he did not have proper permission to perform to the music, leaving him in limbo as the Winter Games began.

Given such a tight timeframe, Gumennik was unable to get clearance for his music from last season, which came from the space opera film "Dune." So he pivoted to "Waltz 1805" by Edgar Hakobyan, for which Gumennik was able to get permission."

US figure skater Amber Glenn faces backlash over politics and copyright issues; AP via ABC News, February 9, 2026

DAVE SKRETTA AP sports writer via ABC NewsUS figure skater Amber Glenn faces backlash over politics and copyright issues

"On the same day Amber Glenn won Olympic gold as part of the team event, and stepped away from social media due to backlash over her comments on politics and the LGBTQ+ community, the American figure skater ended up with another headache.

Canadian artist Seb McKinnon, who produces music under the name CLANN, took to social media late Sunday to object to the use of his song “The Return,” which Glenn had used in her free skate — and has been using for the past two years without issue.

“So just found out an Olympic figure skater used one of my songs without permission for their routine. It aired all over the world ... what? Is that usual practice for the Olympics?” McKinnon posted to X, shortly after the team competition had ended.

Figure skaters are required to obtain permission for the music they use, but that process is hardly straightforward.

Sometimes the label or record producer owns the copyright, other times the artist themselves, and often there are multiple parties involved. Skaters sometimes will piece together different cuts of music, too. Throw in third-party companies such as ClicknClear that try to smooth out the permission process, and the entire copyright issue becomes murky and nuanced."

The New Fabio Is Claude; The New York Times, February 8, 2026

 , The New York Times; The New Fabio Is Claude

The romance industry, always at the vanguard of technological change, is rapidly adapting to A.I. Not everyone is on board.

"A longtime romance novelist who has been published by Harlequin and Mills & Boon, Ms. Hart was always a fast writer. Working on her own, she released 10 to 12 books a year under five pen names, on top of ghostwriting. But with the help of A.I., Ms. Hart can publish books at an astonishing rate. Last year, she produced more than 200 romance novels in a range of subgenres, from dark mafia romances to sweet teen stories, and self-published them on Amazon. None were huge blockbusters, but collectively, they sold around 50,000 copies, earning Ms. Hart six figures...

Ms. Hart has become an A.I. evangelist. Through her author-coaching business, Plot Prose, she’s taught more than 1,600 people how to produce a novel with artificial intelligence, she said. She’s rolling out her proprietary A.I. writing program, which can generate a book based on an outline in less than an hour, and costs between $80 and $250 a month.

But when it comes to her current pen names, Ms. Hart doesn’t disclose her use of A.I., because there’s still a strong stigma around the technology, she said. Coral Hart is one of her early, now retired pseudonyms, and it’s the name she uses to teach A.I.-assisted writing; she requested anonymity because she still uses her real name for some publishing and coaching projects. She fears that revealing her A.I. use would damage her business for that work.

But she predicts attitudes will soon change, and is adding three new pen names that will be openly A.I.-assisted, she said.

The way Ms. Hart sees it, romance writers must either embrace artificial intelligence, or get left behind...

The writer Elizabeth Ann West, one of Future Fiction’s founders, who came up with the plot of “Bridesmaids and Bourbon,” believes the audience would be bigger if the books weren’t labeled as A.I. The novels, which are available on Amazon, come with a disclaimer on their product page: “This story was produced using author‑directed AI tools.”

“If you hide that there’s A.I., it sells just fine,” she said."


Sunday, February 8, 2026

As goes the Washington Post: US democracy takes another hit under Trump; The Guardian, February 8, 2026

  and , The Guardian; As goes the Washington Post: US democracy takes another hit under Trump

Jeff Bezos’s axing of more than 300 jobs at the storied newspaper has renewed fears about the resilience of America’s democracy to withstand Trump’s attacks

"The email landed in Lizzie Johnson’s in-tray in Ukraine just before 4pm local time. It came at a tough time for the reporter: Russia had been repeatedly striking the country’s power grid, and just days before she had been forced to work out of her car without heat, power or running water, writing in pencil because pen ink freezes too readily.

“Difficult news,” was the subject line. The body text said: “Your position is eliminated as part of today’s organizational changes,” explaining that it was necessary to get rid of her to meet the “evolving needs of our business”.

Johnson’s response may go down in the annals of American media history. “I was just laid off by The Washington Post in the middle of a warzone,” she wrote on X. “I have no words.”

The Washington Post’s Ukraine correspondent may have been rendered speechless over Wednesday’s move by Jeff Bezos, the Amazon billionaire and Post owner, to cut more than 300 newsroom jobs. The bloodletting, which has raised renewed fears about the resilience of America’s democracy to withstand Donald Trump’s attacks, swept away the paper’s entire sports department, much of its culture and local staff and all of its journalists in such arid news zones as Ukraine and the Middle East.

Others, though, managed to find their tongues. “It’s a bad day,” said Don Graham, son of the Post’s legendary Watergate-era owner Katharine Graham, breaking the silence he has maintained since selling the paper to Bezos for $250m in 2013.

“I am crushed,” was the lament of Bob Woodward, one-half of the paper’s double act with Carl Bernstein that exposed Watergate.

“This ranks among the darkest days in the history of one of the world’s greatest news organizations,” said Marty Baron, the Post’s lionised former executive editor. Not one to mince his words, Baron castigated Bezos for his “sickening efforts to curry favor with President Trump”, saying it left an especially “ugly stain” on the paper’s standing...

The cumulative malaise that is descending over US media leaves the country’s democratic institutions vulnerable to attack. It can’t be exclusively blamed for Trump’s excesses.

There are plenty of other willing accomplices and capitulators, including universities like Columbia, corporate law firms and the gung-ho conservative activists who now control the supreme court.

But from Trump’s perspective, a media on its knees surely helps. The results are present everywhere you look.

Trump is unleashed, unchained. He feels so comfortable in his regal skin that he can berate a respected female CNN reporter questioning him on the Epstein files for never smiling.

He can peddle unashamedly in racism, posting a video depicting the first Black president and his first lady as monkeys.

He can send a masked paramilitary into the streets of Minneapolis, resulting in Americans getting killed for exercising their first amendment rights. And when the polls for November’s midterm elections look challenging for him, he can prepare for another blitzkrieg on the very foundations of American democracy: the ballot box.

There’s a paradox in all this. Many of the democratic norms that Trump is obliterating – take for example his destruction of the norm of Department of Justice independence in his persecution of his political opponents – were laid down in the 1970s in the wake of the Watergate scandal.

That’s the same Watergate scandal that was brought into the light by that pair of courageous reporters at a newspaper called the Washington Post."

Legal Battle Continues for Amyl & the Sniffers and L.A. Photographer, Both Citing Copyright Infringement; Vice, February 4, 2026

, Vice; Legal Battle Continues for Amyl & the Sniffers and L.A. Photographer, Both Citing Copyright Infringement

"Legal issues have escalated for Australian punks Amyl & The Sniffers, and right after they announced upcoming tour dates. L.A. courts scheduled a hearing for February 13, 2026, regarding a copyright lawsuit and a restraining order filed last year. The issue allegedly began in June 2024, involving L.A.-based photographer Jamie Nelson.

In December 2025, Nelson filed a civil harassment restraining order petition against Amy Taylor, vocalist of Amyl & The Sniffers. Courts in L.A. did not grant the temporary restraining order. But they did schedule the hearing at this time.

Nelson is cited as the creator and copyright holder of a series of photographs taken of Taylor. The series, titled “Champagne Problems”, appeared in the July 2025 issue of Vogue Portugal.The problem arises for both parties in the subsequent use of these photos beyond their initial purpose.

Essentially, Nelson is accusing Taylor of violating copyright on her photos. Allegedly, a third party related to Taylor distributed them without permission. Prior to this, Taylor accused Nelson of exploiting her image for profit and self-advertisement. Allegedly, she sold fine art prints of the photos. Both parties have taken legal action."

State Department will delete X posts from before Trump returned to office; NPR, February 7, 2026

 Shannon Bond, Stephen Fowler, NPR; State Department will delete X posts from before Trump returned to office

"The State Department is removing all posts on its public accounts on the social media platform X made before President Trump returned to office on Jan. 20, 2025.

The posts will be internally archived but will no longer be on public view, the State Department confirmed to NPR. Staff members were told that anyone wanting to see older posts will have to file a Freedom of Information Act request, according to a State Department employee who asked to remain anonymous for fear of retaliation by the Trump administration. That would differ from how the U.S. government typically handles archiving the public online footprint of previous administrations.

The move comes as the Trump administration has removed wide swaths of information from government websites that conflict with the president's views, including environmental and health data and references to women, people of color and members of the LGBTQ+ community. The government has also taken down signs at national parks mentioning slavery and references to Trump's impeachments and presidency at the National Portrait Gallery.

The White House has also launched a revisionist history account of the Jan. 6, 2021, attack on the U.S. Capitol and has replaced the government's coronavirus resource sites with a page titled "Lab Leak: The True Origins of Covid-19."

The removal of State Department X posts from public view appears to be less about ideological differences with past statements and more about control of future messaging. The directive will see the removal of posts from Trump's first term as well as those under then-Presidents Joe Biden and Barack Obama.

In response to NPR's questions about the removals, an unnamed State Department spokesperson said the goal "is to limit confusion on U.S government policy and to speak with one voice to advance the President, Secretary, and Administration's goals and messaging. It will preserve history while promoting the present." The spokesperson said the department's X accounts "are one of our most powerful tools for advancing the America First goals and messaging of the President, Secretary, and Administration, both to our fellow Americans and audiences around the world.""

Saturday, February 7, 2026

Moltbook was peak AI theater; MIT Technology Review, February 6, 2026

Will Douglas Heaven, MIT Technology Review; Moltbook was peak AI theater

"Perhaps the best way to think of Moltbook is as a new kind of entertainment: a place where people wind up their bots and set them loose. “It’s basically a spectator sport, like fantasy football, but for language models,” says Jason Schloetzer at the Georgetown Psaros Center for Financial Markets and Policy. “You configure your agent and watch it compete for viral moments, and brag when your agent posts something clever or funny.”

“People aren’t really believing their agents are conscious,” he adds. “It’s just a new form of competitive or creative play, like how Pokémon trainers don’t think their Pokémon are real but still get invested in battles.”

Even if Moltbook is just the internet’s newest playground, there’s still a serious takeaway here. This week showed how many risks people are happy to take for their AI lulz. Many security experts have warned that Moltbook is dangerous: Agents that may have access to their users’ private data, including bank details or passwords, are running amok on a website filled with unvetted content, including potentially malicious instructions for what to do with that data."


Ex-Google engineer found guilty of stealing AI secrets for China; Axios, February 2, 2026

Rebecca Falconer, Axios; Ex-Google engineer found guilty of stealing AI secrets for China

"A former Google engineer was found guilty of economic espionage and theft of confidential AI technology for the benefit of China's government, the FBI said Monday.

Why it matters: Intelligence and defense officials have long warned of increased efforts by Beijing and others to obtain U.S. intellectual property and use AI against American interests.


State of play: A federal jury in San Francisco convicted Linwei Ding, also known as Leon Ding, 38, of seven counts of economic espionage and seven counts of theft of trade secrets, per an FBI post on X Monday."

Radiohead's Biggest Song of All-Time Got Them Sued for Copyright Infringement; Collider, February 7, 2026

, Collider; Radiohead's Biggest Song of All-Time Got Them Sued for Copyright Infringement

"Radiohead gained widespread attention thanks to their breakout song, "Creep," but not all publicity is good publicity. Released on September 21, 1992, "Creep" was initially considered a commercial flop due to its harsh, distorted guitar "punches," with broadcast stations like the BBC fearing the song might scare off listeners. Over time, however, "Creep" developed a slow-burn cult following, boosted in part by its appearance on MTV's slacker staple Beavis and Butt-Head. Sharing a similar vein with alt-rock counterparts like Beck's "Loser" and its 2000s peppier yet equally self-loathing "Teenage Dirtbag" by Wheatus, "Creep" embraces the ugly side of an attraction that is not reciprocated.

However, shortly after the release of "Creep," Radiohead found themselves in a sticky legal situation. Songwriters Albert Hammond and Mike Hazlewood claimed that the track shared a similar chord progression and melody with "The Air That I Breathe," which they wrote for The Hollies in 1972. Although it was not as large a cultural phenomenon as "Creep," the song reached number two on the UK charts. Upon noticing the similarities, Hammond and Hazlewood contacted Radiohead's publisher, Warner/Chappell Music. Rather than escalating into a public dispute, the matter was resolved amicably, with both parties receiving songwriting credits and having their creative contributions formally recognized. Reflecting on the outcome, Hammond later remarked, "I even have a credit on Creep by Radiohead because of the song. The band admitted that they took the inspiration for it from The Air That I Breathe, including some of the chord progressions."...

In 2017, Lana Del Rey was accused by Radiohead of plagiarizing "Creep." Her song "Get Free," from her fifth studio album Lust for Life, features an intro with moody chord changes that some listeners noted were similar to "Creep." However, in a tweet, Del Rey denied referencing Radiohead: " It's true about the lawsuit. Although I know my song wasn't inspired by Creep, Radiohead feel it was and want 100% of the publishing — I offered up to 40 over the last few months, but they will only accept 100." As of March 26, 2018, the copyright dispute has been settled, and Del Rey is free to sing the song."

NBC appears to cut crowd’s booing of JD Vance from Winter Olympics broadcast; The Guardian, February 6, 2026

 , The Guardian; NBC appears to cut crowd’s booing of JD Vance from Winter Olympics broadcast


[Kip Currier: NBC's decision to edit out booing of JD Vance during the Winter Olympics' Opening Ceremony is not surprising, given prior instances of U.S. media editing of similar occurrences, as noted in this Guardian article. But it is nevertheless troubling. NBC is distorting and altering what actually happened, without informing viewers and listeners of its editorial decision-making.

The Opening Ceremony isn't a fictional movie: it's an historical, newsworthy event. As such, alterations to the historical record should not have been made.

Additionally, if a news organization like NBC decides to make changes to news reporting, like removing or suppressing sound for non-technical reasons, it should be transparent about having done so and explain the reasons for such alterations. Trust in news organizations is vital. Actions like sanitization and alterations of news reporting diminish public trust in the accuracy and integrity of news sources and disseminators.

NBCU Academy's website provides information on ethics in journalism. Its first principle "Seek the truth and be truthful in your reporting." is relevant to the editorial decision to edit out the booing of JD Vance:


What are journalism ethics?

Ethics are the guiding values, standards and responsibilities of journalism. At NBCU News Group, the following principles act as the foundation of ethical journalism:

Seek the truth and be truthful in your reporting. Your reporting should be accurate and fair. Ensure that the facts you gathered are verified, sources are attributed and context is provided. Journalists should be bold in seeking and presenting truths to the public, serving as watchdogs over public officials and holding the powerful accountable.

https://nbcuacademy.com/journalism-ethics/

The Society of Professional Journalists (SPJ) also maintains a Code of Ethics. One of its four guiding principles addresses transparency and accountability:

BE ACCOUNTABLE AND TRANSPARENT

Ethical journalism means taking responsibility for one's work and explaining one’s decisions to the public.

Journalists should:

 

Explain ethical choices and processes to audiences. Encourage a civil dialogue with the public about journalistic practices, coverage and news content.

 

Respond quickly to questions about accuracy, clarity and fairness.

 

Acknowledge mistakes and correct them promptly and prominently.

 

Explain corrections and clarifications carefully and clearly.

 

Expose unethical conduct in journalism, including within their organizations.

 

Abide by the same high standards they expect of others.

https://www.spj.org/pdf/spj-code-of-ethics.pdf


[Excerpt]

"The US vice-president, JD Vance, was greeted by a chorus of boos when he appeared at the opening ceremony of the Winter Olympics in Milan on Friday, although American viewers watching NBC’s coverage would have been unaware of the reception.

As speedskater Erin Jackson led Team USA into the San Siro stadium she was greeted by cheers. But when the TV cameras cut to Vance and his wife, Usha, there were boos, jeers and a smattering of applause from the crowd. The reaction was shown on Canadian broadcaster CBC’s feed, with one commentator saying: “There is the vice-president JD Vance and his wife Usha – oops, those are not … uh … those are a lot of boos for him. Whistling, jeering, some applause.”

The Guardian’s Sean Ingle was also at the ceremony and noted the boos, as did USA Today’s Christine Brennan. However, on the NBC broadcast the boos were not heard or remarked upon when Vance appeared on screen, with the commentary team simply saying “JD Vance”. That didn’t stop footage of the boos being circulated and shared on social media in the US. The White House posted a clip of Vance applauding on NBC’s broadcast without any boos.

Friday was not the first time there have been moves to stop US viewers from witnessing dissent against the Trump administration. At September’s US Open, tournament organizers asked broadcasters not to show the crowd’s reaction to Donald Trump, who attended the men’s final. Part of the message read: “We ask all broadcasters to refrain from showing any disruptions or reactions in response to the president’s attendance in any capacity.”

Earlier on Friday in Milan, hundreds of people protested against the presence of US Immigration and Customs Enforcement (ICE) agents at this year’s Olympics. The US state department has said that several federal agencies, including ICE, will be at the Games to help protect visiting Americans. The state department said the ICE unit in Italy is separate from those involved in the immigration crackdown in the United States."

Friday, February 6, 2026

Music Labels Secure Win in Copyright Suit Over Documentary Music; Bloomberg Law, February 5, 2026

, Bloomberg Law; Music Labels Secure Win in Copyright Suit Over Documentary Music

"A group of music labels secured near-total victory in a copyright-infringement lawsuit against the seller of ten documentaries about various bands.

Coda Publishing Ltd. and its owner willfully infringed more than 100 songs by the Rolling Stones, ABBA, U2, Nirvana, Elton John, Lynyrd Skynrd, and Red Hot Chili Peppers, the US District Court for the Southern District of New York said. The Wednesday order, citing reasons stated orally in court earlier that day, resolved summary judgment motions filed in 2021 in a case that had been stayed since a 2022 discovery sanctions ruling against the labels."

Judge Lets Blade Runner 2049 Copyright Suit Against Elon Musk and Tesla Move Forward; Reason, February 6, 2026

 , Reason; Judge Lets Blade Runner 2049 Copyright Suit Against Elon Musk and Tesla Move Forward

"Wu's ruling will set a precedent for copyright holders to sue anyone whom they assume illegally copied their intellectual property to create something entirely unmistakable for it because the cases will be less likely to be dismissed. This means an increase in the expected cost of using generative AI—litigation is expensive—and a corresponding decrease in creative, productive uses of this revolutionary technology."

Bill would bar students from using school IDs to check out public library books; Radio Iowa, February 5, 2026

  , Radio Iowa; Bill would bar students from using school IDs to check out public library books

"Some agreements between public schools and local libraries would be blocked under a bill approved by Education Committee in the Iowa House.

Library bookmobiles would be barred from school property and the bill prohibits schools from letting students use school IDs to access books and other materials from public libraries. During a subcommittee hearing, Katherine Bogaards with a group called “Protect My Innocence” said the bill is needed to stop Iowa schools from going around a state law that bans school libraries from having books with sexually explicit content.

“It closes the loopholes and ensures schools remain accountable to parents, accountable to the taxpayer, transparent to the public, and compliant with the law,” she said.

Republican Representative Brooke Boden of Indianola said the bill reinforces the 2023 law she and other legislators passed after learning kids and teens were able to check out books with graphic sexual content from some school libraries. “Reading is so important, but we also don’t want our kids reading literature that they’re going to need counseling for for the rest of their lives either,” Boden said during last night’s House Education Committee meeting.

Representative Elinor Levin, a Democrat from Iowa City is a former public school teacher who opposes this year’s bill, especially the ban on bookmobile visits to public schools. “Watching the bookmobile pull up at my local elementary school, there is no greater delight that I see on children’s faces, other than maybe running around a snow day,” Levin said. “It is incredible and it is powerful and I cannot think of a reason to take that away.”

Other critics say the bill would create barriers for students in schools that don’t have libraries or have limited book collections. Five of the Des Moines School District’s schools do not have libraries and about 12,000 middle and high school students use their school ID cards at Des Moines Public Libraries."