And while the story of Martha Wash and the lawsuits she filed 20 years ago don’t neatly overlap every one of these categories, they do help point out just how complicated the subjects of attribution and creative input can be when so many people have a vested interest in keeping it all under wraps.

This was the decade where capital-A Authenticity became one of pop’s biggest artistic crises, a long-simmering culmination of the arguments around the distorting tropes of MTV, the legal and artistic arguments around sampling, and the underground scenes battling over the price of selling out. In addition, we release a first-of-its-kind open-source dataset of videos that can be legally used for training and motion transfer.Beneath the platinum largesse, the ’90s were an ethical turning point for the pop music business. This motivates us to also provide a forensics tool for reliable synthetic content detection, which is able to distinguish videos synthesized by our system from real data. Although our method is quite simple, it produces surprisingly compelling results (see video). We predict two consecutive frames for temporally coherent video results and introduce a separate pipeline for realistic face synthesis. To transfer the motion, we extract poses from the source subject and apply the learned pose-to-appearance mapping to generate the target subject. We approach this problem as video-to-video translation using pose as an intermediate representation.

This paper presents a simple method for 'do as I do' motion transfer: given a source video of a person dancing, we can transfer that performance to a novel (amateur) target after only a few minutes of the target subject performing standard moves.

Everybody dance now piano