Why Make Music? Episode 54 – “The Sun Will Shine”

Introduction by Willa May

Hello and welcome to Why Make Music? – this is episode 54, titled “The Sun Will Shine.” I’m your host, Willa May. Thank you for tuning in! As always, we’ve got a packed show for you – a mix of music, creative inspiration, and even some sports chatter. Our theme this week is all about optimism (hence “The Sun Will Shine”). Here at WDMN Media, we tend to look on the bright side, and we’ll talk about how that ties into the Law of Attraction and our creative journey. Before we dive in, let’s handle a few quick housekeeping items:
	•	Social Media: Connect with us on Instagram! You can follow @thinktimm, @wdmnation, @djwarmcookies, @whymakemusic, @wdmnationmedia, and @lowerlevelcollections for updates and behind-the-scenes peeks. We love hearing from you on those platforms, so don’t be shy.
	•	Merchandise: If you want to support what we do and look good doing it, check out our merch on TeePublic and Threadless. We’ve got some fresh designs up – rep the WDMN Nation in style!

Alright, let’s jump in.

WDMN Media Updates

First up, a quick update on some WDMN projects and releases:
	•	Lower Level Collections: We’ve been hard at work on our Lower Level Collections initiative – that’s our archival and multimedia project. I’m happy to report everything is coming together nicely. By November, we expect to have a bunch of new content ready and even a dedicated YouTube channel up and running to showcase it all. Stay tuned for exclusive videos, deep cuts from the vault, and more as we roll out that platform.
	•	Upcoming Release – If I Was Your Producer, Volume 4: Mark your calendars for next week, October 24, 2025. That’s when ThinkTimm’s latest compilation If I Was Your Producer (Volume 4) will be available on all streaming platforms. We know some of you have been eagerly waiting for the next volume, and it’s almost here. Let me give you the track listing for Volume 4:
	1.	All Said And Done
	2.	Crystal Sky
	3.	Get Over You
	4.	How
	5.	I Swear (Guilty)
	6.	Necessary Light
	7.	Prophet
	8.	Strategic Execution
	9.	Truth Be Told
	10.	What’s On Your Mind
Fun fact: in the last episode I came up with some song names that didn’t actually exist yet – a little creative exercise ha ha ha – and ThinkTimm took that as a challenge. He went ahead and wrote new songs for each of those titles! So Volume 4 contains the original tracks that was slated to come out. The other titles that I made up on the fly, during my creative titling spree Will be on a Volume in the future. What could have been a goof became a win-win for everyone – we got new music out of it. Talk about turning ideas into reality!

Alright, with those updates out of the way, let’s move into the heart of today’s episode.

“The Sun Will Shine” – Optimism & Origins

As I said, “The Sun Will Shine” is our theme, and it reflects the optimistic spirit we carry here at WDMN Media. We’re big believers in the Law of Attraction – the idea that positive thoughts and intentions can attract positive outcomes. Staying optimistic, especially in a tough industry like music, isn’t always easy, but it’s part of what keeps us going. We choose to focus on possibilities rather than obstacles. In creative life, that mindset can make a huge difference. If you truly believe good things are on the horizon (that the sun will shine), you’re more likely to spot opportunities and persevere through challenges.

Now, I want to take a moment to reintroduce what “Why Make Music?” is all about, especially for any first-time listeners out there. The name of our show – Why Make Music? – is more than just a title; it’s a question and an answer rolled into one. It’s the question every creative person grapples with at some point (“Why do this? What’s the point of making music or art?”) and it’s also the answer – because we have to! It’s the drive that pushes us forward. In a way, “why make music” is the very reason to make music: it’s about passion, expression, and the need to create. This show is our space to explore that creative impulse, both in ourselves and in others.

For those who don’t know ThinkTimm’s backstory and the origin of WDMN Media, here’s a quick rundown: ThinkTimm has been a creative soul his entire life – making music, writing poetry, dabbling in art – you name it. But for a long time it was more of a personal obsession or a hobby. Then, around 2024, the stars aligned – time, opportunity, and technology all converged – and he decided to take the leap from hobbyist to professional independent music producer. That’s how WDMN (Why Does Music Matter) Nation Media was born.

Starting in August 2024 through February 2025, ThinkTimm went on an absolute tear of productivity: six projects were completed and released in that span, each containing 26 instrumental tracks. Yes, you heard that right – six albums, 26 tracks each, in about six months! That’s a whopping amount of music. All of those were instrumental collections, exploring different moods and styles. Then in 2025, the mission evolved. Around July 2025, ThinkTimm began releasing fully produced songs with vocals – bringing singers and spoken word into the mix and really stepping up the production value.

Unlike many artists out there, ThinkTimm isn’t chasing chart-topping pop fame; he’s actually pursuing opportunities in sync licensing – which means getting music placed in media like movies, TV shows, commercials, video games, YouTube content, etc. If you think about it, everywhere you hear music in the background, there’s a creator who got paid for that. With the music industry being reinvented by streaming and democratized by technology (something like over 100,000 songs are uploaded each day on streaming platforms – an almost unbelievable number), going for sync licenses is one path among many. It’s admittedly a gamble – this whole industry is – but the goal for us is not some kind of overnight megastar success. We’d be happy with a modest, sustainable income doing what we love.

We’re now one year into this grand mission, and progress has been encouraging. We’ve built a catalog, learned a ton, and connected with a community of supporters (that’s you!). If you’ve been with us from the start, you’ve seen the evolution. If you’re new, welcome – you’re jumping in at an exciting time. The takeaway is: we make music because it’s our calling, and we truly believe that with passion, persistence, and a positive mindset (yes, the sun shining and all that), we can carve out our own space in this vast musical landscape.

Alright, now let’s pivot to one of our big discussion topics of the day – a really fascinating (and somewhat controversial) development in the music world that ties into technology, creativity, and the future…

Breakthrough AI Artist Xania Monet – Success Story and Controversy

You might have seen this in the news: an AI-generated singer named Xania Monet has been making waves by accomplishing things usually reserved for human rising stars. I want to break down her story and the debate it’s sparked, because it’s a perfect example of something at the crossroads of music and tech that we’re all trying to make sense of.

Xania Monet’s Virtual Rise

So, who or what is Xania Monet? She’s described as a virtual R&B singer who “doesn’t exist in human form.” In other words, Xania is not a real person – she’s an avatar, a persona created entirely through artificial intelligence tools. All her vocals and songs are generated by AI, guided by a human creator behind the scenes . Despite that, Xania Monet has achieved some very real success. In just a few months of releasing music, her songs racked up tens of millions of streams (Billboard reports nearly 10 million official streams in the U.S. alone in roughly eight weeks) . One of her singles, “How Was I Supposed to Know?”, even climbed into the Top 10 of Billboard’s R&B Digital Song Sales chart, eventually hitting #1 on that chart, and reached #22 on the overall Digital Song Sales chart according to press reports. Another track called “Let Go, Let God” crossed over onto the Gospel charts, debuting at #21 on Billboard’s Hot Gospel Songs . These chart moves also landed Xania on Billboard’s Emerging Artists list at #25  – which is the kind of early-career milestone human artists dream of.

All this success led to a bidding war among record labels to sign Xania Monet. Yes, labels were fighting over an AI singer! And in late September 2025, the winner was an independent label called Hallwood Media, run by a former Interscope exec. They signed Xania Monet to a deal reportedly worth $3 million . What’s even more remarkable is how the deal went down: Xania’s creator basically did a showcase over Zoom – there was no live performance or actual artist to present in a room, but the label was sold on the strength of the numbers and the music itself. It’s said to be one of the first times an AI-driven act has gotten a multi-million dollar record contract at this scale, which is why people are asking, “Is this the future of music?”

Now, let’s talk about the human behind the machine. Talisha “Nikki” Jones is the 31-year-old poet and entrepreneur from Mississippi who created Xania Monet. She’s the one writing all of Xania’s lyrics and essentially “feeding” the AI with musical direction. Jones has explained that she used a generative music platform called Suno – think of it as a kind of ChatGPT for songs – to turn her words and melodies into full-blown tracks . She also used AI image generators to give Xania a visual look/persona (so if you see images of “Xania Monet,” those are AI-created images representing the character). Importantly, Jones considers Xania as her musical persona. In interviews, she’s said this isn’t a gimmick; it’s a way for her to express her artistry, even though she’s not the one singing. She grew up singing in church and writing poetry, so all the lyrics and emotions in Xania’s songs come straight from Jones’s own life experiences. In effect, Xania Monet is like Talisha Jones’ alter ego – Jones is the unseen singer, and the AI is the microphone amplifying her voice.

One cool endorsement Xania Monet got early on was from Timbaland, the legendary producer. Timbaland has been experimenting with AI in music himself (he even co-founded an AI startup and has dabbled in using AI to mimic the voices of late artists). When he heard Xania’s music, he gave her a public shoutout. He urged fans to “check out Xania Monet who’s killing it – good music,” in a social media post . Coming from a hit-maker like Timbaland, that was a big co-sign for this AI artist. (Side note: Timbaland is actually a strategic advisor to the Suno platform and has launched his own AI music project – an AI rapper named “TaTa” under his company Stage Zero – so he’s very much invested in this space . It’s not surprising he saw the potential in Xania.)

By the numbers, Xania’s early releases were also making money. Within the first two months, her five self-released songs reportedly generated around $50,000 in streaming revenue. She accumulated nearly 9.8 million on-demand streams in the U.S. over that short period , and on Spotify she amassed roughly half a million monthly listeners. These stats are eye-opening because, as one industry observer noted, those kinds of figures “typically belong to breakout human stars, but today they belong to Xania Monet” . It shows that many listeners either didn’t know or didn’t care that the singer isn’t human – they just enjoyed the music. For Hallwood Media (the label), such organic popularity was too compelling to pass up.

Industry Praise vs. Artist Backlash

With success comes scrutiny. Xania Monet’s rise has provoked a mixed reaction in the music community. On one hand, tech enthusiasts and some record executives are excited, even calling this a paradigm shift. On the other hand – and this is loud – many human artists are upset, even outraged.

Let’s start with the backlash, because it’s been very vocal. Kehlani, a well-known R&B singer-songwriter, posted a passionate video on TikTok essentially blasting the idea of an AI act getting these opportunities. She said she’s “genuinely sad for people who are trying to come up and their space is being taken up by a computer program.” In her words, “IT, not she,” (pointedly calling Xania an “it”) is “taking all of the data it’s collected on us and what we want and is tailoring it to us. Even down to the voice.”   Kehlani went on to express that nothing about AI in the creative arts can be justified to her, especially knowing how hard real artists work and sacrifice for their craft . She basically said, this AI artist hasn’t paid any dues – “the person is doing none of the work… AI can make the entire f**king song… and they don’t have to credit anyone.” And to cap it: “I’m sorry, I don’t respect it.” . Strong words, right?

Kehlani wasn’t alone. SZA, another chart-topping R&B artist, also chimed in, albeit more succinctly. On Instagram, SZA wrote, “Hey, I hate AI. If you f-ck with me, PLEASE don’t make any AI images of me or songs.”  That was her stance – zero tolerance for AI using her likeness or voice. For artists like SZA and Kehlani, the emergence of an AI “singer” crossing over into their genre is seen as a direct threat and an insult. They feel it undermines the authenticity of music. After all, R&B (and any genre, really) is built on lived experiences, emotions, and human storytelling. The idea that a machine can synthesize all that by crunching data – and then potentially compete with human artists for listeners, chart positions, or even record deals – is very disturbing to them.

Beyond individual artists’ anger, there’s a broader debate here about art and authenticity. Critics argue that if music can be generated by algorithms that have studied every successful song, you’ll end up with a lot of formulaic output – like music engineered purely to please people’s ears or trick streaming algorithms, without any genuine feeling. Some say this could “homogenize” the sound of music  and dilute what makes different artists unique. There are also ethical and economic fears: We’ve already seen how streaming made it harder for many musicians to earn a living; now imagine if record labels start pumping out AI-generated tracks that don’t require any royalties or human talent to create. A recent study even estimated that by 2028, up to 25% of musicians’ income could be affected by AI-made music because generative AI might take up a significant share of everything from streaming playlists to commercial background music. It’s speculation, but not far-fetched – AI music is advancing fast.

Interestingly, the context of who is behind the AI makes a difference in how people react. You might remember an incident from a couple years ago: a virtual AI rapper called FN Meka got signed to Capitol Records and then almost immediately dropped after public backlash. FN Meka was essentially a caricature – not created by Black artists, yet it used the appearance and tropes of Black hip-hop culture (even including the n-word in lyrics) in a gimmicky way. An activist group called it “a direct insult to the Black community and our culture” and an example of digital blackface. Capitol had to apologize and end the project within days . That fiasco is a cautionary tale: it shows how an AI act can cross lines of cultural appropriation and face swift condemnation.

In Xania Monet’s case, some have pointed out a key difference: Talisha Jones is a Black woman creating an R&B persona to express her own perspective. So you could say Xania’s not appropriating someone else’s culture – she is essentially an extension of her creator’s identity. Because of that, Xania hasn’t faced the same kind of cultural criticism that FN Meka did. However, to the artists who are speaking out, that nuance may not matter much – they’re more concerned about the principle of AI potentially displacing real human artists. As Kehlani put it, “especially not AI in the creative arts, [in] which people have worked hard for… I don’t respect it.” 

On the flip side, Xania Monet has her supporters in the industry. Beyond Timbaland’s endorsement, the team around Xania (including her manager, Romel Murphy) has tried to emphasize that there is a real human artist behind this – Talisha Jones. Murphy said in one interview, “This is real music – it’s real R&B. There’s an artist behind it.”  From their perspective, Jones isn’t using AI to steal or shortcut, but to create something she couldn’t have otherwise. They note that she still wrote everything and even mixed in some live production elements; AI was just the tool she used to manifest the vocals and sound. Timbaland has made a similar case, comparing it to how artists use autotune or synthesizers – i.e., technology has always been in music, this is just the next evolution.

And clearly, many listeners have been enjoying the songs. Xania Monet’s streaming numbers didn’t come out of nowhere – people found the music, liked it, and shared it, often before it was widely known that she wasn’t human. That suggests that to a lot of fans, a good song is a good song, and they might not care how it was made. As one headline put it, “millions of consumers are pressing play without hesitation” on AI-generated tracks, even as debates rage in the background.

So we have this real split: parts of the industry are excited and see dollar signs (or innovative new art forms), and parts of the artistic community are pushing back, saying “this crosses a line.” It’s a very 2025 kind of controversy, isn’t it?

Legal Grey Areas for AI Music

Now, beyond the creative and ethical debate, there’s another big question: Who owns an AI-generated hit song? The rise of Xania Monet is forcing the music industry and legal system to confront some uncharted territory in copyright and intellectual property law.

The company whose AI technology was used to create Xania’s music – Suno – is currently in some legal hot water. In 2024, the major record labels (Universal, Sony, and Warner) collectively sued Suno (and another AI startup called Udio), accusing them of copyright infringement on a massive scale  . The claim is that these AI models were trained by scraping hundreds of thousands of copyrighted songs without permission – essentially, that the AI “learned” how to make music by analyzing existing artists’ work, which the labels say is illegal copying. The lawsuit described it as “unlicensed copying of sound recordings on a massive scale”, and the labels are seeking hefty damages . Suno, for its part, has defended itself by saying it only used publicly available data and that machine learning training should fall under fair use (they likened it to a musician growing up listening to lots of records and then creating something new – “learning is not infringing”, Suno wrote in a blog post)  . This case is ongoing, and it’s being watched closely because the outcome could set precedents for how AI music tools are treated under copyright law.

What does this mean for Xania? Well, consider this: if the courts were to rule that Suno’s very existence is based on infringing copyright (because it was trained on unlicensed music), then any songs made with Suno might be seen as “fruit of the poisonous tree,” legally speaking. Hallwood Media just paid $3M for an AI-generated artist – but what exactly did they buy? Normally, when a label signs an artist, they get rights to that artist’s recordings (the “masters”) and maybe some publishing. But U.S. copyright law currently says that only works with human authorship can be protected by copyright. The U.S. Copyright Office has been clear that if something is entirely AI-generated with no creative choices by a human, it’s not eligible for copyright. They issued guidance that in an AI-assisted work, you can only copyright the parts that a human can definitively claim they crafted, and even then it’s reviewed case by case.

In Xania’s music, the lyrics are definitely human (Talisha Jones wrote those), so those can be copyrighted as literary text. But the actual sound recording – Xania’s vocal performance, the instrumental track – was largely generated by the AI. By the letter of the current rules, that might not be copyrightable. In practical terms, that could mean if someone else somehow reproduced Xania’s AI-generated song file and started distributing it, Jones and her label might have no legal ground to stop them, because the song itself might not be considered “theirs” in the eyes of the law. It sounds crazy, but it’s a real possibility. In fact, some legal experts have mused, if Xania’s recordings can’t be copyrighted, why would a label pay millions for them – “Why am I paying you for this, if you have no claim in the copyright?” as one lawyer put it.

Hallwood Media obviously is betting that they can monetize this – perhaps through trade secrets, branding, contracts that license the content in alternative ways, or maybe they are confident the laws will evolve to protect AI music. But it’s a risky spot. It’s been reported that a few major labels were interested in Xania but got cold feet once they realized her songs were made with an AI that’s being sued by the music industry . Hallwood ended up proceeding, likely after doing some legal due diligence of their own.

Right now, streaming platforms like Spotify, Apple Music, etc. do not have a clear policy distinguishing AI-created songs. There’s no checkbox that says “this track was made by AI” when you upload it (though maybe that will come). So Xania’s songs earn royalties just like any other. But I suspect that could change in the future. There have been discussions in industry circles about possibly creating a separate category for AI music, or paying a different royalty rate for it, or at least requiring transparency. In 2024, a coalition of music companies and artist organizations (including the major labels and groups like the Recording Academy) petitioned for stronger rules against AI systems using artists’ work without consent. There’s even U.S. legislation being floated – for instance, Senator Peter Welch introduced a bill that would force AI developers to disclose the copyrighted material in their training data . All of this is to say, the legal landscape is very unsettled. One commentator called it a “wild west” and a “copyright mess” where the lines haven’t been drawn yet.

To illustrate: if ThinkTimm (just as a hypothetical) wanted to register a song that was partly AI-generated, he’d have to carefully outline what he did versus what the AI did. And the Copyright Office might only grant protection on the parts he can claim human authorship of. This is new territory for everyone – artists, labels, lawyers, and the courts.

For Xania Monet, Hallwood Media will likely ensure Talisha Jones is heavily involved in anything new to strengthen the human element. Jones retains ownership of her songwriting and presumably has some ownership stake in the project’s IP (since she created the character). They might also be banking on brand. That is, even if technically someone could copy a Xania song, nobody can copy Xania Monet the persona, which they now have signed exclusively. So by building her brand and fanbase, they create value that way, beyond just the raw recording copyright.

Virtual Artists on the Rise

Xania Monet might be the headline, but she’s not alone out there. The concept of virtual or AI-powered musicians has been bubbling up more and more. Let’s quickly mention a few, to put Xania in context:
	•	FN Meka (AI Rapper): I mentioned him earlier – a virtual rapper character with a huge TikTok following, created by a company using AI for music and lyrics. He got signed to Capitol Records in 2022, making headlines as the “first AI artist signed to a major.” But within days he was dropped after public outcry about the character’s stereotypical portrayal of Black culture and use of slurs. That backlash was a stark reminder that music doesn’t exist in a vacuum – issues of representation and authenticity matter to audiences . FN Meka’s failure cooled some of the AI hype back then, but clearly it didn’t stop the trend entirely.
	•	Noonoouri (Virtual Pop Star): This is an interesting one. Noonoouri was originally a virtual fashion influencer (an Instagram character with a big following) – an anime-styled avatar. In 2023, the major label Warner Music Group actually signed Noonoouri as a “digital pop artist.” Her debut single “Dominoes” was released, with her voice entirely generated by AI. However, behind the scenes, human producers and songwriters crafted the song . Warner’s approach there was to combine a popular virtual persona with music production, and crucially, they made sure the human creators were acknowledged and presumably paid. Noonoouri shows that labels are experimenting with creating virtual stars, not just signing ones that pop up. It’s like having a fictional character who releases music. In Noonoouri’s case, the reception was more mild – some people were curious, some shrugged – but it didn’t cause the uproar Xania Monet has, perhaps because Noonoouri was presented more as a novelty/art project and not seen as “taking away” from anyone.
	•	Timbaland’s “TaTa”: Timbaland, as we discussed, is deep into this. He’s been developing an AI female artist named TaTa. Details are still emerging, but given Timbaland’s influence, if he chooses to promote TaTa widely, that could become another notable AI act. Also, Timbaland stirred some debate when he previewed a song where he used AI to recreate the voice of The Notorious B.I.G. – some people felt it was innovative homage, others found it creepy or inappropriate. This all ties into the larger conversation of using AI to revive or simulate famous voices (a whole other can of worms).
	•	Other AI Music Projects: Beyond the big names, a lot of smaller-scale AI music experiments are happening. There’s an AI singer called Vinih Pray who had a TikTok-viral song “A Million Colors” that even charted on TikTok’s viral music charts. There’s been an AI-generated “J-pop” or K-pop girl group attempt. And you have established “virtual bands” like Gorillaz or vocaloid characters like Hatsune Miku that have been around for years – but note, those had humans making the music, even if the performers were cartoons or software. The new twist is AI can now make the music too.

In short, Xania Monet is part of a wave. Some of these will flop or backfire, others might find a niche. The music industry is kind of throwing spaghetti at the wall with AI to see what sticks – all while trying not to anger the very real human talent that actually drives the business.

Future of Music: Humans and AI

So, is Xania Monet a sign of things to come? What does her emergence mean for the future of music and creators?

It’s early days, but here’s how I see it (feel free to disagree, this is a hot topic!):
	•	Empowerment vs. Displacement: On one hand, AI tools can empower independent creators. Talisha Jones, without any traditional record deal or backing, managed to create a whole album’s worth of slick R&B songs and get millions to listen. That’s amazing. She didn’t have to be discovered at a club or go viral on YouTube first; she leveraged technology to amplify her artistry. For songwriters or producers who aren’t natural performers or don’t have industry connections, AI can be a way to get their material out there. We might see more stories of “bedroom creators” using AI to realize ambitious projects that would’ve required a whole team in the past. In that sense, AI could democratize music production even further (beyond what home studio tech already has). Imagine a talented composer who can’t sing – they could “cast” an AI voice as their vocalist and release songs without having to hire a singer. Or a poet who doesn’t play instruments – they could use AI to generate musical accompaniment to their words.
	•	Quality and Creativity: On the other hand, if we get a flood of AI-generated content, how do we maintain quality and originality? There is a concern that if everyone starts using the same AI models, a lot of music will start to sound the same, because the AI might gravitate towards certain crowd-pleasing chord progressions, tempos, or vocal styles it learned from popular music. It might optimize for what keeps people streaming (since it “knows” what listeners tend to like), leading to a lot of cookie-cutter songs. It will be up to the humans using these tools to push them in new directions and break the mold. Creativity could actually become more prized – if AI makes it easy to generate a passable song, truly original ideas and styles may stand out even more.
	•	Live Performance & Connection: Music isn’t just about recordings. There’s live concerts, fan interactions, social media presence, personality – things an AI avatar might have a hard time replicating authentically. Xania Monet’s team has said they’re planning her first live performance (perhaps as a hologram or some kind of mixed media show). That will be a huge litmus test. Will fans show up to “see” an AI artist? And what will that experience be like? If they pull off a great live show, that opens the door to virtual artist concerts (imagine buying a ticket to see a holographic pop star – it sounds sci-fi but it could happen). However, I suspect many people will still crave the energy of a real human performer on stage. There’s an intangible magic in live music when you know the person up there is flesh and blood, feeding off the crowd. Can a virtual character backed by pre-programmed moves capture that? We’ll see.
	•	The Hybrid Approach: I think we might move toward a middle ground where AI is used behind the scenes more than as the face of the act. For example, a human singer might use AI to generate harmonies or vocal layers for themselves, effectively “dueting” with their own AI clone. Producers might use AI to quickly generate instrumental ideas, then tweak them manually. Songwriters could use AI to help break writer’s block by suggesting melodies. But the final product might still be presented as a human artist’s work. This way you get the efficiency of AI without the marketing weirdness of having to sell an entirely fake artist. In Xania’s case, the cat’s out of the bag – she’s known to be AI – but maybe future artists won’t advertise that their creation had AI assistance. They’ll just release the music and only the credits will quietly note some AI tool usage.
	•	Regulation and Attribution: I do expect we’ll see more guidelines put in place. Perhaps streaming services will require a tag or disclosure if a song is AI-generated or if an AI voice model was used. Maybe new licensing schemes will be developed so that if an AI was trained on, say, Mariah Carey’s vocal style, there’s a way Mariah (and other source artists) get a tiny piece of the pie when the AI produces songs. The legal system tends to lag behind technology, but the pressure is mounting to figure something out. The music industry will want to protect its human capital (artists) while also exploring new tech – a tricky balance. Some have floated ideas like: if a label releases AI music, perhaps a portion of those revenues should go into a fund for human musicians, or maybe AI music should have its own category in Grammy awards distinct from human music. These are all just ideas being tossed around.

Bringing it back to Xania Monet: She’s a trailblazer, whether we like it or not. Her success (and the controversy around it) has people in every corner of the music world talking. In a way, she might accelerate some of the changes and rules we’ve been discussing, because she’s a high-profile example. It’s also worth noting that Talisha Jones, as a Black woman in tech/music, is part of a narrative of people of color leveraging AI in creative fields – which is important, because a lot of early AI stuff was dominated by big tech companies not necessarily focused on diversity or cultural nuance. So her story is multifaceted: it’s about representation, innovation, disruption, and the age-old tussle between art and commerce.

For us as an independent outfit (WDMN Media), watching this unfold is instructive. We embrace tech – heck, we use it all the time in production – but we also deeply value the human element. Our stance is that AI is a tool, not a replacement. When used with intention and soul, it can open up new possibilities (as it did for Jones). But it also raises the bar for what it means to be an artist. Maybe in the future, having a strong personal narrative, live performance skills, and a distinct identity will become even more crucial for artists to differentiate themselves from AI creations. It could push human artists to be more experimental and raw – things a machine can’t easily replicate.

To wrap up this segment: Is the sun shining or is it a storm on the horizon for the music industry? Probably a bit of both. Xania Monet’s story has a bit of a “science fiction meets reality” vibe, but it’s 100% happening right now. We congratulate Talisha Jones on her ingenuity and success – it’s undeniably impressive – but we’re also standing in solidarity with the real musicians who feel anxious about what this means for their futures. Change is the only constant, and the music world is no exception. One thing I believe firmly is that no matter how advanced AI gets, it will never have a human heart. It can simulate one in a song, perhaps, but behind every great piece of music there’s a human experience, even in Xania’s case (it was Talisha’s experience fueling it). As creators, our job is to keep infusing that humanity into what we do, whether we’re strumming an acoustic guitar or tweaking an AI-generated beat. That’s something I think listeners will always respond to.

(Sources for this segment include reporting from Forbes, Billboard, Ebony, AfroTech, and The Verge, which have documented Xania Monet’s creation by Telisha Jones using the Suno AI platform , her streaming and chart achievements , details of the Hallwood Media deal , support from Timbaland and others , as well as the backlash from artists like Kehlani and Sizza in their own words  . Legal insights were drawn from The Verge’s coverage of the record labels’ lawsuits against AI music companies  and the U.S. Copyright Office’s public stance on AI-generated works.)

Remembering Angie Stone & D’Angelo

Shifting gears now – we want to take a moment to remember and celebrate two legendary figures in music, both of whom sadly passed away in 2025: Angie Stone and D’Angelo (Michael D’Angelo Archer). Their lives and careers were deeply intertwined at one point, and it’s poignant that they left us within months of each other. As an R&B and neo-soul fan, I can’t overstate how much these two contributed to the music we love.

Angie Stone died in a tragic car accident on March 1, 2025, at the age of 63 . She had just finished a performance in Alabama and was on the road when the accident happened – truly heartbreaking news that shook the music community. Angie’s career spanned over four decades, and she wore many hats: singer, songwriter, rapper, producer, actress. A lot of people might not realize just how pioneering she was. Back in 1979, as a teenager known as Angie B, she was part of a trailblazing female hip-hop trio called The Sequence – they were the first all-women rap group to have a charting single in the hip-hop genre . That single was “Funk You Up,” which later artists (Dr. Dre, En Vogue, and others) would sample in their own songs . So Angie Stone was literally there at the dawn of recorded hip-hop, breaking barriers as a young woman in a scene dominated by men.

After The Sequence, Angie continued evolving. In the early ’90s she was part of an R&B group called Vertical Hold, and then by the end of that decade she embarked on a solo career that really took off. Her 1999 debut solo album Black Diamond (released on Arista Records) was a hit – it went Gold and featured the single “No More Rain (In This Cloud),” which is just a gorgeous neo-soul track that still holds up today . Another song from that album, “Everyday,” also became quite popular and helped define the neo-soul sound of that era . She followed up with Mahogany Soul (2001), which gave us the timeless song “Wish I Didn’t Miss You” (if you’ve ever been to a neo-soul night, you know that one gets everyone singing along). Over the years she released a string of albums – Stone Love (2004), The Art of Love & War (2007, which hit #1 on the Billboard R&B chart), Unexpected (2009), Rich Girl (2012), up through Full Circle (2019) and her final album Love Language (2023). In total she gave us 10 studio albums and a bunch of live and compilation projects.

Angie was a collaborator and songwriter for others as well. She had a hand in writing songs for some of her contemporaries – for example, she co-wrote material on D’Angelo’s acclaimed 2000 album Voodoo , and Pitchfork notes she penned songs for artists like Erykah Badu and Raphael Saadiq too . She also famously sang the theme song for the early-2000s sitcom Girlfriends (and even cameoed on that show) . So her influence was wide-ranging.

For her contributions, Angie Stone received numerous accolades: She had three Grammy nominations over her career and won a couple of Soul Train Lady of Soul Awards, among other honors . In 2021, she was honored with the Soul Music Icon Award at the Black Music Honors, and in 2024 she was inducted into the Women Songwriters Hall of Fame  – a fitting recognition of her songwriting impact. Beyond music, some fans also know her from reality TV; she was part of the show R&B Divas for a season, showing that warm, down-to-earth personality to a new generation.

It’s worth highlighting that Angie’s voice and style were hugely influential in the neo-soul movement of the late ’90s/early 2000s. Alongside artists like Mary J. Blige, Erykah Badu, and Lauryn Hill, Angie brought that fusion of old-school soul feeling with hip-hop sensibilities to the mainstream. Songs like “Brotha” (her tribute to Black men) showcased her ability to blend social commentary with smooth grooves. She was often called the “godmother” of neo-soul for bridging the gap between the classic soul era and the modern R&B sound.

Now, D’Angelo – what a giant of neo-soul he was. D’Angelo passed away just a few days ago on October 14, 2025, at the age of 51, after a private battle with pancreatic cancer . This one hit hard as well, even though we knew he had canceled some shows earlier in the year for health reasons. D’Angelo (full name Michael Eugene Archer) is often credited as one of the architects of the neo-soul genre – he came onto the scene in the mid-90s and made an immediate impact.

His 1995 debut album, Brown Sugar, was like a breath of fresh air in R&B. It went platinum and produced hits like the title track “Brown Sugar,” “Cruisin’” (a Smokey Robinson cover), and “Lady.” That album blended traditional soul, funk, and contemporary R&B in a way that hadn’t been done in a while – some say it launched the neo-soul movement (the term “neo-soul” itself got popularized around that time). D’Angelo was only 21-22 when Brown Sugar dropped, and he was hailed as a wunderkind – playing multiple instruments, writing and producing his own material, really bringing musicianship back into R&B.

Then came Voodoo in 2000, his sophomore album, which is often cited as a masterpiece. It famously was recorded at Electric Lady Studios in NYC with the collective of amazing musicians known as the Soulquarians (which included Questlove from The Roots, Pino Palladino, James Poyser, J Dilla, etc.). Voodoo had this rich, organic, analog sound – deeply funky, loose and tight at the same time. It earned D’Angelo a Grammy Award for Best R&B Album  and the single “Untitled (How Does It Feel)” won him a Grammy for Best Male R&B Vocal Performance . And of course, that song’s music video (D’Angelo shirtless, in a single shot, pouring his soul out) became an iconic pop culture moment. It turned D’Angelo into a reluctant sex symbol – something he actually struggled with, as he felt it overshadowed his musicianship.

After Voodoo, D’Angelo infamously stepped away from the public eye for a long time. He had battles with personal demons, went through some tough times, and fans waited years for new music – over a decade, in fact. There were rumors of unreleased tracks and aborted album sessions. It wasn’t until 2014 that he made a comeback with Black Messiah, his third album (credited to D’Angelo and The Vanguard, his band). And wow, Black Messiah was worth the wait – it was a powerful, politically charged album that dropped in the wake of protests over racial injustice in the U.S., and it felt in tune with the moment. That album won the Best R&B Album Grammy in 2016, and a song from it, “Really Love,” won Best R&B Song  . With Black Messiah, D’Angelo once again proved his genius and secured his legacy.

Beyond his own albums, D’Angelo collaborated with many peers over the years. Early on, he wrote and produced “U Will Know” for a collaborative group of R&B artists in 1994 . He collaborated with Lauryn Hill on her song “Nothing Even Matters” (a beautiful duet on The Miseducation of Lauryn Hill). He’s worked with Common, Q-Tip, and others from the Soulquarians orbit. And here’s a connecting thread: Angie Stone was a background vocalist on D’Angelo’s first major tour (the Brown Sugar tour) and she contributed to his debut album creatively . In fact, Angie co-wrote a song called “Everyday” – which appeared on her own album but D’Angelo helped write – so they were musically intertwined . They also co-wrote at least one track on Voodoo if I’m not mistaken, and Angie is often credited with helping D’Angelo refine his sound and style in those early days.

Speaking of their intertwining: Angie Stone and D’Angelo were a couple in the 90s. They met while D’Angelo was working on music in the early ’90s (Angie has said she recognized his talent immediately) . Despite a significant age difference (she was 13 years older), they fell in love and even had a child together – their son, Michael Jr., was born in 1998 . Angie was like a mentor and partner to D’Angelo during a crucial period of his career; she’s sometimes credited with helping him stay focused and get that classic music out. Eventually, they parted ways romantically, but remained connected through their son and mutual respect.

Fast forward to 2025: Angie’s passing in March was devastating news. According to PEOPLE Magazine, D’Angelo was extremely overwhelmed by Angie’s death . A source close to him said he was “devastated” and that he couldn’t even bring himself to attend her funeral because it hit him so hard . Even though they had long moved on with their lives, they were forever tied by history, by their child, and by the music they made. That source in PEOPLE noted “They’d moved on… but the idea that both of them would be gone within the same year is sad. They were forever tied as this pop culture couple.”  Indeed, within the span of seven months, we lost them both. It’s almost like a star-crossed story in the annals of neo-soul.

In remembering them, I want to celebrate what they gave us:
	•	Angie Stone gave us empowerment anthems, soulful ballads, and a shining example of longevity and versatility. From “No More Rain (In This Cloud)” which comforts the brokenhearted, to “Brother” which uplifts, to club groovers like “I Wanna Thank Ya” (featuring Snoop Dogg) – she had range. She influenced artists like Jill Scott, India.Arie, and countless others who followed in neo-soul. And she proved that women could thrive as songwriters and producers in R&B, not just as vocalists.
	•	D’Angelo changed the sound of R&B in the late 90s. He brought back that earthy, instrument-driven vibe and showed that groove and depth could trump glossy production. His music often felt analog and real in a period where a lot of things were going digital. Younger artists like Frank Ocean, Maxwell, John Legend, and Anderson .Paak all owe a bit to D’Angelo’s template of marrying vintage soul with modern perspective. And of course, every time you hear a neo-soul style jam or see an artist go on a long hiatus to perfect their craft, the comparison to D’Angelo is not far behind. He set a high bar for artistic integrity.

It’s also worth noting how both Angie and D’Angelo were rooted in the church/gospel tradition in their youth (Angie’s father was in a gospel quartet; D’Angelo’s father was a preacher, and D sang in church too). That spiritual undercurrent gave their music a certain warmth and depth. The song “Let’s Get Lifted” by John Legend, or “He Loves Me” by Jill Scott – those kind of neo-soul songs that have gospel influences – exist in part because Angie and D’Angelo’s generation put that into R&B.

We could talk for hours about their discographies and impact, but I’ll wrap this tribute up by saying: Rest in peace to Angie Stone and D’Angelo. It’s a huge loss for music, but what they created will live on. Spin an Angie album or a D’Angelo album this week in their memory – celebrate them through the art they shared. We send love and condolences to their families (Angie leaves behind her children and loved ones; D’Angelo leaves behind his children – including the son with Angie – and loved ones). And we’re grateful for the legacy they leave. In the spirit of our episode title, the sun will continue to shine through their music, inspiring future artists and bringing joy to listeners.

(Sources: Pitchfork commemorated Angie Stone as a hip-hop pioneer and neo-soul defining voice  , noting her early success with The Sequence and her Gold album Black Diamond. People Magazine reported on D’Angelo’s reaction to Angie’s passing and confirmed D’Angelo’s death and their history together  . We also reference Wikipedia/Discography info for Angie’s accolades  and details from NPR’s tribute to D’Angelo highlighting his Grammy wins and cultural impact  .)

Basketball Spotlight: New Seasons and New Leagues

Alright, let’s switch lanes to something a bit lighter: basketball! If you’re a hoops fan like I am, there’s a lot going on, especially in the women’s game, that’s worth talking about.

First off, the NBA is about to start a new season – opening night is Tuesday, October 21, 2025. There’s the usual buzz of anticipation: fans are eager to see how their teams look, which rookies will shine, and which superstar duos or trios will dominate. (As a Philadelphia resident, I’ve got my eye on the Sixers, of course!). The start of the NBA season always feels a bit like a holiday for basketball lovers. We won’t dive into predictions here, but I encourage everyone to catch those first games – the energy is always great.

Now, on the WNBA side of things, we just concluded the 2025 season with a truly historic outcome. The Las Vegas Aces have been crowned WNBA champions – again! They defeated the Phoenix Mercury in the Finals, completing a 4-game sweep in the first-ever best-of-seven WNBA Finals . This victory marks the Aces’ third championship in four years . Let that sink in: three titles in four seasons is a bona fide dynasty. The only year in that span they didn’t win was presumably 2024, so they’ve won in 2022, 2023, and now 2025. That puts them in elite company (only a handful of WNBA franchises have multiple titles, and none with that frequency except the Houston Comets back in the very early days of the WNBA). The Aces, led by their superstar A’ja Wilson (who snagged Finals MVP honors with an absolutely monster performance in the series) , have really set the standard. Their coach, Becky Hammon, even said “you run out of adjectives” for Wilson’s greatness . The team had to overcome more adversity this season – they didn’t cruise from start to finish like in some previous years; at one point they were hovering around .500 mid-season and dealt with injuries – but they got hot when it mattered, ended the regular season on a 16-game winning streak, and powered through the playoffs . It’s an awesome story of resilience and excellence.

While the Aces are celebrating, the WNBA as a whole is at an interesting juncture. The level of competition and talent in the league is as high as it’s ever been – we saw some incredible games this year. But there are ongoing challenges, particularly when it comes to economics and opportunities for the players. WNBA players, even the top stars, still earn a fraction of what their NBA counterparts do. Many players historically have gone overseas in the off-season to places like Russia, Turkey, China, etc., to play in international leagues that sometimes pay more than their WNBA salaries. This year (and the last couple years), that whole dynamic has been shifting due to a few factors: concerns about safety/politics in certain countries (e.g., the Brittney Griner situation made players think twice about Russia), the WNBA season lengthening a bit, and also the emergence of new opportunities domestically.

Let’s talk about those new opportunities – because this is big. There’s a surge of new women’s basketball leagues and initiatives that have popped up, giving players options outside the traditional WNBA route:
	•	Unrivaled (3-on-3 League): This is a brand-new, player-founded league that had its inaugural run in early 2025 and is gearing up for a second season. Two of the WNBA’s biggest names, Breanna Stewart and Napheesa Collier, co-founded Unrivaled, which is a women’s 3v3 basketball league designed to take place in the WNBA’s off-season . Think of it kind of like a mix between streetball and pro ball – 3-on-3 full court, which is a faster-paced, high-scoring format (3x3 basketball is even an Olympic sport now). The idea was to create a domestic option so players wouldn’t have to go overseas for additional income and competition. Unrivaled’s first season was held in Miami with six teams and an eight-week schedule (Jan through March) . It was built “by players, for players” – they even built a custom training facility and offered amenities with players’ needs in mind . Crucially, Unrivaled raised a lot of money – over $35 million – from investors including NBA star Giannis Antetokounmpo, Olympian Michael Phelps, tennis phenom Coco Gauff, and others . With that funding, they’ve been able to offer very competitive salaries. In fact, the league advertised that its average salary would be higher than the WNBA’s average . A little stat: the average WNBA salary in 2024 was around $120k, and Unrivaled’s average per player is around $222k (since they have fewer players overall and a salary pool of $8 million) . Plus, Unrivaled players get equity stakes in the league as part of their compensation , which is almost unheard of in traditional sports leagues.
The result? A lot of players jumped on board. Year 1 featured some marquee WNBA names, and for Season 2 (coming in early 2026), they’ve already announced signings like Paige Bueckers (the much-hyped UConn star who apparently became the 2025 WNBA Rookie of the Year and is a hot commodity) and current WNBA All-Stars like Alyssa Thomas and Satou Sabally . They’re also expanding – adding two new teams (they announced teams called the Breeze and the Hive for next season, bringing it to 8 teams) . They even plan to have some games on the road, including here in Philadelphia, to expand the fan base . Unrivaled is gaining momentum and really might become a fixture.
	•	Athletes Unlimited (AU) Basketball: This league started in 2022 and is a bit different in format – it’s a 5-on-5 league that plays a super short season (around 5 weeks) with a unique model: players earn points for individual and team performance, and the rosters shuffle each week based on a draft system where top players become captains. It’s very player-centric and almost like a fantasy sports approach. AU hasn’t grabbed as many big stars (partly because it overlaps with overseas seasons), but it has featured plenty of WNBA players and is entering its 4th season in 2026 . Next season it’ll be in Nashville. It’s another piece of the ecosystem giving players competitive reps and income in the off-season.
	•	Project B (Global Women’s League): Now this one is potentially a game-changer on a larger scale. Project B is basically an effort to create a new global women’s pro basketball league that would rival the WNBA as a premier competition. It’s still in development, but it’s already making headlines. The plan is to start in late 2026, with six teams of 11 players each, playing a series of tournaments in major cities across Asia, Europe, and the Americas  – so truly international. They want to run this league from November to April (which crucially does not directly conflict with the WNBA’s summer season, but it would overlap with things like Unrivaled and overseas winter leagues) .
Project B was initially also exploring a men’s league (and had advisor Maverick Carter, LeBron James’ business partner), but that seems to be on hold. They pivoted to focusing on the women’s side first . It has serious investors: Geoff Prentice (Skype co-founder) and Grady Burnett (ex-Facebook exec) are leading it , and they’ve brought in sports investors and legends. Notably, former WNBA great Alana Beard is a co-founder and the Chief Basketball Officer . Also, WNBA star Candace Parker and tennis champ Sloane Stephens are among those who have invested in Project B .
The selling point: money and player empowerment. Project B’s reps have said they plan to offer salaries that are multiples of what’s currently available in women’s basketball . They even claim it will be the highest salaries and equity packages in women’s team sports . Basically, they’re looking to entice the top talent by paying them what they’re truly worth on the market. They’ve reportedly already begun negotiating with some top WNBA players, and some have even signed letters of intent to join when it launches . This is huge because if, say, a Breanna Stewart or A’ja Wilson (just hypothetically) were to sign with Project B, that puts pressure on the WNBA. The WNBA is the established league with history, but players understandably will go where they can make the most money and have ownership stake. Project B is positioning itself not necessarily as a direct competitor to “kill” the WNBA, but as an “additive” league that values players appropriately . They’ve been careful in PR to show respect to the WNBA – likely because they know fans don’t want to see the W suffer, they want the pie to grow for everyone . However, make no mistake, if Project B succeeds, it effectively creates a two-league system a bit like soccer in Europe where top players might hop between leagues or pick one over the other.
The WNBA, for its part, is in the middle of negotiating a new Collective Bargaining Agreement (CBA) with its players’ union (the current one has a mutual opt-out in 2025). The existence of things like Unrivaled and Project B strengthens the players’ bargaining power. The union can say, “Look, if you don’t improve conditions and pay, our players have other options now.” In fact, one scenario being discussed is the WNBA might push for an exclusivity clause in new contracts (like the NBA has), which would prevent players from playing in other leagues during the off-season . But to get the players to agree to that, the WNBA would likely have to make it worth their while – meaning higher salaries, year-round pay or bonuses, etc. So this could either lead to players getting a much better deal in the WNBA or, if talks break down, potentially a labor standoff or more players choosing the new leagues. It’s a fascinating time.
	•	Overseas Clubs: And we shouldn’t forget, European and other overseas leagues are still there. Places like Turkey, Spain, and Israel have leagues (and China) that have historically paid top-tier players several hundred-thousand dollars for a few months of play. Some of those leagues (especially EuroLeague Women) offer competition at or above WNBA level too. So the players truly have a portfolio of choices now to mix and match: WNBA in summer, maybe Unrivaled or AU in winter, or sign with a Project B team, or go overseas, etc. It’s both exciting and a bit chaotic!

From a fan perspective, more women’s basketball year-round is awesome. I find it exciting that there might be a global tournament-style league – imagine teams representing say London, Paris, New York, Tokyo, etc., with the best players in the world. It could actually elevate the profile of the women’s game globally. And something like Unrivaled is cool because 3x3 is a fun, different way to enjoy the sport (and you see players show off skills you might not see as much in 5-on-5).

However, there are some concerns: The WNBA is a well-loved league with history since 1997, and fans of teams like the New York Liberty or LA Sparks don’t want to see that diluted. Ideally, we’d have a world where the WNBA thrives and these new ventures find a way to coexist – perhaps by staggered schedules or even partnerships. WNBA Commissioner Cathy Engelbert has been somewhat supportive of players doing things like Unrivaled (she’s said competition can be good), but obviously the league doesn’t want to lose control of its stars for too long. The next year or two will be telling. There’s even talk of WNBA expansion (adding new teams in cities like the Bay Area and maybe Toronto or Philly) soon, which could also change things.

In summary, the women’s basketball landscape is expanding. The Las Vegas Aces are queens of the hill right now in the WNBA, but the players as a whole are queening (and kinging) in the sense of taking charge of their destiny. They’re saying, “We deserve more,” and entrepreneurs and investors are backing them up by creating these new leagues. As a fan, I’m here for it – more basketball, more stories, more athletes getting their due. The sun is truly shining on women’s hoops with that third Aces title  and all these developments. And if you haven’t yet checked out a WNBA game or one of these new leagues, I encourage you to do so – you’ll witness some of the best basketball talent on the planet.

(Sources: ESPN reports confirm the Las Vegas Aces’ third title in four years and Finals sweep of the Mercury . For the new leagues: ESPN and SB Nation’s Swish Appeal have detailed Unrivaled’s founding by Stewart/Collier, its salary structure and investor backing  , and Project B’s planned 2026 launch, format and investor team (Parker, Beard, etc.)  . Also cited are news bits on player signings for Unrivaled Season 2 like Paige Bueckers . All signs point to an exciting evolution in women’s basketball.)

Wrapping Up: Volume 4 Release & Final Thoughts

Bringing it back home to the music to close out the show – we’re really excited for the release of “If I Was Your Producer, Volume 4” next week (October 24, 2025). We went over the tracklist earlier, and I just want to say: get ready, because ThinkTimm really outdid himself on this one. The production is next-level – each volume in this series has been building on the last, and Volume 4 is like the culmination of everything learned so far. The beats hit harder, the melodies cut deeper, and there are a few surprise elements in some tracks that I think will make you go “whoa, they’re really pushing into new territory here.” It’s still instrumental and sample-rich like the previous installments, but with some fresh twists. We’ve even integrated a bit of the spoken word vibe in places (you might catch a familiar voice or two weaving in some poetry between the music).

Our goal with these projects is always to deliver something that can be the soundtrack to your life’s moments – whether you need background music while studying, or something to vibe to on a late-night drive, or inspiration for your own creative projects. Volume 4 has some uplifting sunny tracks (fitting our theme of optimism) and some moodier, reflective pieces. We can’t wait for you to hear it and let us know your favorites.

As part of the Lower Level Collections initiative I mentioned, around the time of the release we’ll also drop some content on YouTube – perhaps a visualizer or two, maybe a mini-doc about the making of Volume 4. If you’re curious about how ThinkTimm crafts these tracks, those behind-the-scenes looks will be for you.

Let’s not forget to keep the conversation going: follow our socials (@whymakemusic and @wdmnationmedia on Instagram especially) for snippets and previews of the new tracks in the coming days. And after release, we’d love to hear feedback – what track speaks to you? Did the sequence flow well? Any particular sound or sample that caught your ear? It’s a two-way street; we create, but you, the listeners, complete the experience by how you receive it and interpret it.

Before we sign off, I want to circle back to the theme “The Sun Will Shine.” We talked about a lot of things today – some heavy, like the debate over AI in art and the loss of musical legends, and some inspiring, like the achievements of athletes and the creation of new platforms for talent. Through it all, the thread I see is hope and perseverance. Why make music (or why do anything creative or ambitious)? Because even when there are challenges, even when it’s cloudy, we believe in that eventual sunshine. Angie Stone and D’Angelo poured their souls into music and left a legacy – that’s a kind of sunshine that will keep shining. Talisha “Xania Monet” Jones dared to try something new with technology and found success – she followed a ray of inspiration into uncharted territory. The WNBA players and entrepreneurs pushing new leagues are chasing a brighter future for women’s sports.

So whether you’re a musician, an artist, an entrepreneur, or just someone striving towards a goal in your personal life, keep that optimistic outlook. It doesn’t mean ignoring the difficulties – we’ve been very real about those in our discussion – but it means not losing sight of the light ahead. As we often say on this show, creative work is not a path for the faint of heart, but it’s incredibly rewarding. Every song, every project, every episode like this is an answer to “why make music” – because it fulfills something in us and, hopefully, brings something good into the world.

I want to thank you all for hanging out with me for these almost 50 minutes. Long episode, I know, but there was a lot to cover and I appreciate you riding with us through it. If you enjoyed this, please consider leaving us a review or sharing the podcast with a friend who might dig it. That word-of-mouth really helps.

One more reminder: If I Was Your Producer, Vol. 4 – out October 24th! Don’t sleep on it. And check out our merch and upcoming YouTube content if you get a chance.

Alright, that’s it for Episode 54 of Why Make Music?. This is Willa May, on behalf of ThinkTimm and the whole WDMN crew, saying stay creative, stay positive, and remember: the sun will shine. Catch you next time! ☀️🎶