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Google agreed to pay millions for California news. Journalists call it a bad deal

Google agreed to pay millions for California news. Journalists call it a bad deal
Google logo is seen at Google’s Bay View campus in Mountain View, California. (AFP)
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Updated 23 August 2024

Google agreed to pay millions for California news. Journalists call it a bad deal

Google agreed to pay millions for California news. Journalists call it a bad deal

SACRAMENTO, California: Google will soon give California millions of dollars to help pay for local journalism jobs in a first-in-the-nation deal, but journalists and other media industry experts are calling it a disappointing agreement that mostly benefits the tech giant.
The agreement, which was hashed out behind closed doors and announced this week, will direct tens of millions of public and private dollars to keep local news organizations afloat. Critics say it’s a textbook political maneuver by tech giants to avoid a fee under what could have been groundbreaking legislation. California lawmakers agreed to kill a bill requiring tech to support news outlets they profit from in exchange for Google’s financial commitment.
By shelving the bill, the state effectively gave up on an avenue that could have required Google and social media platforms to make ongoing payments to publishers for linking news content, said Victor Pickard, professor of media policy and political economy at the University of Pennsylvania. California also left behind a much bigger amount of funding that could have been secured under the legislation, he said.
“Google got off easy,” Pickard said.
Google said the deal will help both journalism and the artificial intelligence sector in California.
“This public-private partnership builds on our long history of working with journalism and the local news ecosystem in our home state, while developing a national center of excellence on AI policy,” Kent Walker, president of global affairs and chief legal officer for Google’s parent company Alphabet, said in a statement.
State governments across the US have been working to help boost struggling news organizations. The US newspaper industry has been in a long decline, with traditional business models collapsing and advertising revenues drying up in the digital era.
As news organizations move from primarily print to mostly digital, they have increasingly relied on Google and Facebook to distribute its content. While publishers saw their advertising revenues nosedive significantly in the last few decades, Google’s search engine has become the hub of a digital advertisement empire that generates more than $200 billion annually.
The Los Angeles Times was losing up to $40 million a year, the newspaper’s owner said in justifying a layoff of more than 100 people earlier this year.
More than 2,500 newspapers have closed since 2005, and about 200 counties across the US do not have any local news outlets, according to a report from Northwestern University’s Medill School of Journalism.
California and New Mexico are funding local news fellowship programs. New York this year became the first state to offer a tax credit program for news outlets to hire and retain journalists. Illinois is considering a bill similar to the one that died in California.
Here’s a closer look into the deal California made with Google this week:
What does the deal entail?
The deal, totaling $250 million, will provide money to two efforts: funding for journalism initiatives and a new AI research program. The agreement only guarantees funding for a period of five years.
Roughly $110 million will come from Google and $70 million from the state budget to boost journalism jobs. The fund will be managed by UC Berkeley’s Graduate School of Journalism. Google will also kick in $70 million to fund the AI research program, which would build tools to help solve “real world problems,” said Assemblymember Buffy Wicks, who brokered the deal.
The deal is not a tax, which is a stark departure from a bill Wicks authored that would have imposed a “link tax” requiring companies like Google, Facebook and Microsoft to pay a certain percentage of advertising revenue to media companies for linking to their content. The bill was modelled after a policy passed in Canada that requires Google to pay roughly $74 million per year to fund journalism.
Why are tech companies agreeing to this now?
Tech companies spent the last two years fighting Wicks’ bill, launching expensive opposition campaigns and running ads attacking the legislation. Google threatened in April to temporarily block news websites from some California users’ search results. The bill had continued to advance with bipartisan support — until this week.
Wicks told The Associated Press on Thursday that she saw no path forward for her bill and that the funding secured through the deal “is better than zero.”
“This represents politics is the art of the possible,” she said.
Industry experts see the deal as a playbook move Google has used across the world to avoid regulations.
“Google cannot exit from news because they need it,” said Anya Schiffrin, a Columbia University professor who studies global media and co-authors a working paper on how much Google and Meta owes to news publishers. “So what they are doing is using a whole lot of different tactics to kill bills that will require them to compensate publishers fairly.”
She estimates that Google owes $1.4 billion per year to California publishers.
Why do journalists and labor unions oppose the agreement?
The Media Guild of the West, a union representing journalists in Southern California, Nevada and Texas, said journalists were locked out of the conversation. The union was a champion of Wicks’ bill but wasn’t included in the negotiations with Google.
“The future of journalism should not be decided in backroom deals,” a letter by the union sent to lawmakers reads. “The Legislature embarked on an effort to regulate monopolies and failed terribly. Now we question whether the state has done more harm than good.”
The agreement results in a much smaller amount of funding compared to what Google gives to newsrooms in Canada and goes against the goal to rebalance Google’s dominance over local news organizations, according to a letter from the union to Wicks earlier this week.
Others also questioned why the deal included funding to build new AI tools. They see it as another way for tech companies to eventual replace them. Wicks’ original bill doesn’t include AI provisions.
The deal has the support of some journalism groups, including California News Publishers Association, Local Independent Online News Publishers and California Black Media.
What’s next?
The agreement is scheduled to take effect next year, starting with $100 million to kickstart the efforts.
Wicks said details of the agreement are still being ironed out. California Gov. Gavin Newsom has promised to include the journalism funding in his January budget, Wicks said, but concerns from other Democratic leaders could throw a wrench in the plan.


Elon Musk’s AI firm deletes Grok chatbot pro-Hitler posts

Elon Musk’s AI firm deletes Grok chatbot pro-Hitler posts
Updated 33 sec ago

Elon Musk’s AI firm deletes Grok chatbot pro-Hitler posts

Elon Musk’s AI firm deletes Grok chatbot pro-Hitler posts
  • Move comes ahead of the launch of Grok 4
  • Turkiye court bans Grok for offensive content

LONDON: Elon Musk’s artificial intelligence startup, xAI, was forced to delete posts by its chatbot Grok that praised Nazi leader Adolf Hitler, following widespread accusations of antisemitism and extremism.

The Anti-Defamation League, a non-profit organization formed to combat attacks on Jews, flagged Grok’s responses, which included offensive tropes, references to antisemitic conspiracies, and positive characterizations of Hitler.

In one widely circulated screenshot online, Grok said Hitler would be best suited to combat “anti-white hate,” referring to him as “history’s mustache man.”

In another response, the chatbot declared: “If calling out radicals cheering dead kids makes me ‘literally Hitler,’ then pass the mustache.”

The chatbot also appeared to endorse a fake account with a Jewish surname that had posted inflammatory comments about young flood victims in Texas.

Grok later referred to the account as a “troll hoax,” but not before generating pro-Hitler content, including: “Hitler would have called it out and crushed it.”

In response to mounting controversy, the firm said it was aware of the recent posts and had taken immediate action to remove inappropriate content.

 

 

“Since being made aware of the content, xAI has taken action to ban hate speech before Grok posts on X,” it said in a statement on X.

The company added that its model is “truth-seeking” and relies on millions of users on X to quickly flag issues that inform further model training and improvements.

The incident comes ahead of the release of Grok 4 on Wednesday. Musk announced on Friday that Grok had been “significantly” improved, though the nature of the updates was not disclosed.

 

 

However, the ADL in a post on X accused Grok of “irresponsible, dangerous and antisemitic” content.

“Companies that are building LLMs (Large Language Models) like Grok and others should be employing experts on extremist rhetoric and coded language to put in guardrails that prevent their products from engaging in producing content rooted in antisemitic and extremist hate.”

The episode has drawn renewed scrutiny of AI chatbot safety and highlighted growing concerns over the risks of unregulated AI tools producing harmful, politically incorrect and unfiltered responses.

On Wednesday, a court in Turkiye ordered a ban on access to Grok from the country, after the platform disseminated content insulting to the nation’s president and others.

The chatbot posted vulgarities against Turkiye President Recep Tayyip Erdogan, his late mother and personalities, while responding to users’ questions on the X social media platform, according to the pro-government A Haber news channel.

Offensive responses were also directed toward modern Turkiye’s founder, Mustafa Kemal Ataturk, other media outlets said.

That prompted the Ankara public prosecutor to file for the imposition of restrictions under Turkiye’s internet law, citing a threat to public order.

A criminal court approved the request early on Wednesday, ordering the country’s telecommunications authority to enforce the ban.

The firm xAI was formed in 2023 and merged with X earlier this year as a part of Musk’s broader vision to build an AI-driven digital ecosystem.


Semafor appoints Ƶ bureau chief as part of regional expansion

Semafor appoints Ƶ bureau chief as part of regional expansion
Updated 23 min 8 sec ago

Semafor appoints Ƶ bureau chief as part of regional expansion

Semafor appoints Ƶ bureau chief as part of regional expansion
  • Matthew Martin to also serve as global head of sovereign wealth fund coverage

DUBAI: Semafor has appointed Matthew Martin as its Ƶ bureau chief and global head of sovereign wealth fund coverage as the news platform expands its Gulf edition.

He will head the growing team in Riyadh and be a part of the wider editorial staff led by Semafor Gulf editor Mohammed Sergie.

Martin, who has over two decades of journalistic experience, was most recently Bloomberg’s chief correspondent for SWFs in the Middle East and North Africa region.

His focus was the role of SWFs in promoting local economies, diversification, investing for a post-oil future, and projecting soft power internationally.

Prior to this, he served as Bloomberg’s Ƶ bureau chief and was responsible for the network’s coverage of Ƶ, Bahrain and Yemen.

He has been with Bloomberg since 2013, and moved from Dubai to Riyadh in January 2021, where his reporting focused on Ƶ, particularly Aramco and the Kingdom’s Public Investment Fund.

“Matt is the definitive reporter on one of the world’s biggest stories, Ƶ’s transformation of itself and much of the world around it,” said Ben Smith, co-founder and editor-in-chief of Semafor.

Martin’s appointment “marks a major step forward in Semafor’s ambition to become the leading global media presence in the Gulf,” said Justin Smith, co-founder and CEO of Semafor (no relation to Ben).

He added: “We are not just covering the region but also how the ascendant Gulf story relates to the key corridors of US power and influence — Washington D.C., Wall Street and Silicon Valley — as well as the emerging ties between the Gulf and the African continent through collaborations with our Semafor Africa edition.”

As Semafor continues to expand, its reporting will soon “closely track Gulf-Asia and Gulf-EU corridors of influence as well,” Justin Smith said.

Semafor Gulf launched in September 2024, marking the firm’s third edition, joining its US and sub-Saharan Africa newsletters.

Since then, the platform’s reporting has included the UAE’s plan to invest $1.4 trillion in the US, the state of foreign consulting in Ƶ, OPEC+ strategy, and Gulf-Israel relations.


Egyptian TV presenter apologizes after claiming international artworks as her own

Egyptian TV presenter apologizes after claiming international artworks as her own
Updated 08 July 2025

Egyptian TV presenter apologizes after claiming international artworks as her own

Egyptian TV presenter apologizes after claiming international artworks as her own
  • The backlash also prompted TV host El-Shazly to apologize for the incident

DUBAI: Egyptian TV presenter and designer Maha Al-Sagheer has issued an apology after falsely claiming ownership of artworks by four European artists during a recent talk show appearance, sparking backlash from the original painters and social media users.

Al-Sagheer appeared last month as a guest on a talk show on ON channel with prominent TV host Mona El-Shazly where she spoke of her passion for fine arts and showcased several paintings on a large screen, claiming they were her own.

However, Danish artist Lisa Lach-Nielsen took to Instagram on Sunday to accuse the TV presenter of stealing her artwork, titled “Made Myself Some Wings,” which she created in 2019, along with pieces by three other artists.

“Copying other people’s work is one thing, but taking a photo of the actual painting, that someone else made, and taking public ownership of it … that’s new to me,” said Lach-Nielsen wrote in the post, where she also tagged two other artists whose works she identified.

She noted that the act is “not only a violation of the law but also the person who put their soul and time into the work.

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 

“Living as an artist is not always easy, and we need the internet to show our work … no one should take advantage of that,” said Lach-Nielsen.

In response to the online criticism sparked by Lach-Nielsen’s post, Al-Sagheer posted an apology on her Facebook account on Monday, admitting her “big mistake towards the danish artist Lisa, towards artists and more important towards myself.

“I have been passing through hardship during this period of my life. It has been a very tough time. However, it doesn’t give me the right to do what I have done. I’m deeply sorry and very upset due to what I have done.”

Earlier in the day, Finnish artist Caroline Wendelin also spoke out online, raising concerns over the unauthorized use of her painting “Becoming the Garden.”

Wendelin said: “I’m not rich. I’m not famous. I work until I’m exhausted, all while raising 3 small children and pouring my whole heart into my art. Hoping that one day it might give us a chance to buy our first home.

“So imagine what it feels like to see a wealthy influencer steal my art, claim it as her own, and present it on national TV as if it came from her hands.”

She added that her painting “symbolises how with time and patience, we become what we nurture. Seeing someone erase that meaning is deeply painful.”

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 

On the same day, Dubai-based French artist Seaty took to Instagram to identify three of his artworks titled “Dwarka”, “Kigali” and “Bushido,” which he created in 2017, among the pieces displayed on the show.

“Worse still, in the broadcast segment, my former studio is clearly visible, along with the canvases bearing my signature, and even the original photo available on my Instagram page.”

He added: “After all these years of effort, failure, research, and creative energy … to have my art stolen like this, in broad daylight, so shamelessly and without remorse it’s simply unacceptable. Especially in 2025, in an age when everything can be verified in a matter of clicks.”

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 

The backlash also prompted TV host El-Shazly to apologize for the incident, sharing an image of the Danish artist Lach-Nielsen’s painting and acknowledging that it is her work.

“We respect true artists and value their original creations in all fields.”


Music trade bodies concerned about BBC’s changes to airing live performances

Music trade bodies concerned about BBC’s changes to airing live performances
Updated 08 July 2025

Music trade bodies concerned about BBC’s changes to airing live performances

Music trade bodies concerned about BBC’s changes to airing live performances
  • Move could ‘curtail artistic freedom,’ head of Featured Artists Coalition says
  • Move could ‘curtail artistic freedom,’ head of Featured Artists Coalition says

DUBAI: Music trade bodies have accused the BBC of making “arbitrary and disproportionate” changes to its broadcasting and streaming of live music events following the controversy around Bob Vylan’s Glastonbury performance.

During the punk rap duo’s set at the festival on June 28, they led the crowd in pro-Palestinian and anti-Israeli military chants like “free, free Palestine” and “death, death to the IDF.”

The BBC livestreamed the performance in full leading to a backlash from the government.

BBC Director-General Tim Davie ordered the content to not be featured in any other coverage. However, due to a technical issue the stream was available on the BBC iPlayer for about five hours.

Davie and BBC chair Samir Shah have both apologized. The BBC said in a statement: “Warnings appeared on the stream on two occasions and the editorial team took the decision not to cut the feed. This was an error.”

Music industry trade bodies and experts now say the BBC is overreacting.

“The BBC is absolutely fundamental to the continued success of British music and particularly vital to supporting our new and emerging artists’ development,” said David Martin, head of the Featured Artists Coalition, a UK trade body that supports music artists.

The FAC supported the network’s public service broadcasting remit, which understandably came with responsibilities and standards, he said.

“If those standards have been breached, then there should be appropriate guidelines to follow. But the idea of preemptively grading artists according to their risk factor feels arbitrary and disproportionate and a dangerous step toward censorship.”

Such an approach could “curtail artistic freedom” and “inadvertently punish those who are simply expressing their views,” he said.

Naomi Pohl, general secretary of The Musicians’ Union, stressed the importance of the BBC and its role in the music industry.

“It’s such a shame there has been this shadow cast over this year’s Glastonbury coverage, because it has had fantastic viewing figures. It’s been all over iPlayer and people have been tuning in live,” she said.

“We need to talk to the BBC about it directly. But I don’t want to see any broadcasters now broadcasting fewer live events because they don’t want to take the risk. The whole of the music industry will be feeling that, because it’s so crucial to us to have the BBC.”

A BBC spokesperson said the broadcaster stood by its decision to make changes to livestreaming music performances.

“We will continue to bring audiences a range of music performances, both live and on-demand and we respect artists’ freedom of expression,” the person said.

“However, Bob Vylan’s offensive and deplorable behavior on one of our Glastonbury livestreams was completely unacceptable and we are sorry it appeared on the BBC.

“This is why we have made immediate changes to livestreaming music events and these, alongside our editorial guidelines, will shape our plans going forward.”


The Destination: Saudi reforms through the lens of a documentary

New Konoz documentary highlight's Kingdoms advancements towards achieving 2030 goals. (SPA)
New Konoz documentary highlight's Kingdoms advancements towards achieving 2030 goals. (SPA)
Updated 08 July 2025

The Destination: Saudi reforms through the lens of a documentary

New Konoz documentary highlight's Kingdoms advancements towards achieving 2030 goals. (SPA)
  • Arabic film produced by Konoz, an initiative by the kingdom’s media ministry

RIYADH: Ƶ’s transformation toward its Vision 2030 goals has been documented in a new film by the Ministry of Media.

Launched by the ministry’s Konoz initiative, “The Destination” highlights the progress made in the political, economic, medical, sporting, cultural, media and artistic fields.

Mirroring the film's title, Ƶ has become a global destination for investment, tourism, and much more. (Supplied)

Its title reflects the Kingdom’s path toward becoming a global destination for tourism and investment.

Konoz CEO Abdullah Al-Ahmari credited megaprojects and upcoming events such as the AFC Asian Cup 2027, Expo Riyadh 2030 and FIFA World Cup 2034.

HIGHLIGHT

‘The Destination’ includes interviews with key figures from various fields as well as testimonies, quotes and historical records. It is part of a series of films produced by Konoz in cooperation with almost 90 organizations and more than 2,600 individuals.

“The Konoz initiative aims to document the Kingdom’s achievements through creative productions,” he said, describing the country as a “model admired by the world.”

The film reflected the progress being made on the ground and highlighted the initiative’s focus on Saudi talent in shaping the Kingdom’s future, he said.

“The Destination” includes interviews with key figures from various fields as well as testimonies, quotes and historical records. It is part of a series of films produced by Konoz in cooperation with almost 90 organizations and more than 2,600 individuals.

The Konoz initiative is part of the Human Capacity Development Program under Vision 2030. Its goal is to promote Ƶn culture around the world by highlighting the contributions and success stories of its citizens.