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Actu Foot reported that Giovani Lo Celso had mentioned Lionel Messi's farewell to the national team. In the documentary *Gracias 10*, he wondered how to explain to seven-year-old children that they would not see him play with the national team again and described Messi as an idol of all generations. Lo Celso added that the journey had been "unforgettable." #Messi #Football #Argentine (translated)

Jean-Luc Mélenchon criticized Parcoursup, which he accused of forcing young people aged 14 or 15 to choose ten possible orientations and write ten cover letters. According to him, this process pushed them to lie from the second letter onwards and to write anything from the fourth. He described the procedure as a trial for families across three generations and claimed that it only served to turn knowledge into a market. As a counter-model, he advocated for a France that would cultivate intellectual abilities in order to secure a future. #Parcoursup #Éducation #RéformeÉducative (translated)

Bally Bagayoko presented the launch of the Hip-Hop and Urban Cultures Festival of the New Town of Saint-Denis–Pierrefitte-sur-Seine as an evening focused on creation, commitment, and hope. He said that the city aimed to maintain a strong cultural ambition despite a difficult political and social context, which weakened local communities and tested cultural policies. He described culture as a right and a means of emancipation, and hip-hop and urban cultures as spaces for expression, encounter, and solidarity. According to him, the evening also allowed for affirming support for the mobilization of high school students on October 17. Bagayoko advocated for a convergence of struggles and generations around social justice, equality, dignity, and access to culture. #HipHop #CulturesUrbaines #SaintDenis #PierrefitteSurSeine #CulturePourToutesEtTous #Jeunesse #ConvergenceDesLuttes #FaireRenaîtreLEspoir #HipHop #CulturesUrbaines #Culture (translated)

Bally Bagayoko indicated that a banner had been deployed in Auteuil in support of the student mobilization. He had called for mobilization on October 17 for a convergence of struggles and generations that he described as "extraordinary," and to unite voices, forces, and hopes to revive hope. #Mobilisation #Solidarité #Espoir (translated)

Actu Foot reported that Kyllian Antonio, born in 2008, told Guillaume Hoarau after Lens-Lyon that he had never seen Zinedine Zidane play. According to the account, Antonio added that only his father had spoken to him about the former player, and Hoarau advised him to watch videos on YouTube. https://t.co/N3S54emUh1 #Football #Ligue1 #Zidane (translated)

Victor Wembanyama, during his first preseason game with the San Antonio Spurs, expressed his support for French high school students by denouncing "systemic inequalities" and urging political leaders to be aware of the current concerns of young generations. #VictorWembanyama #NBA #SoutienLycéens (translated)

Russia’s war propaganda gets a soundtrack – how AI-generated songs reached global streaming platforms Russian war propaganda is no longer confined to television broadcasts, Telegram channels or political videos. A study by the Ukrainian threat-intelligence organisation Terrecon has identified 981 songs combining signs of AI generation with pro-Russian military narratives, distributed through an ecosystem that reaches YouTube, Spotify, Apple Music, Deezer and SoundCloud. The songs range from sentimental ballads to rock and heavy metal. Their recurring themes are familiar from conventional Russian wartime propaganda: the heroisation of Russian soldiers, romanticisation of the war, mobilisation, the “Russian world”, commemoration of fallen troops and attacks on Ukraine and its armed forces. Some contain derogatory or dehumanising references to Ukrainians. What is new is not necessarily the message, but the production and distribution model: generative AI allows propagandistic music to be produced rapidly, cheaply and in quantities that would previously have required musicians, studios and producers. Nearly 1,000 tracks identified Terrecon examined 3,725 tracks collected from YouTube, YouTube Music, SoundCloud and the AI music platform Suno. After manual review, researchers classified 981 as showing both indications of AI generation and pro-Russian war propaganda. In 681 tracks they identified 728 propaganda-related keywords or phrases. The largest category was the glorification of the Russian military, followed by romanticised treatment of Moscow’s so-called “special military operation”, mobilisation appeals, narratives about the “Russian world”, and the cult of fallen soldiers and the state. The reach was not merely theoretical. Listening or viewing statistics were available for 608 of the identified tracks; together they had accumulated 86.8 million plays and views, according to Terrecon. A smaller group of 13 high-performing songs accounted for more than 53 million YouTube views and more than 67 million when YouTube Music was included. Among the better-known examples is “Power of Artillery”, a Russian-language rock song praising artillery weapons that passed two million views on YouTube. Most of the tracks for which publication dates could be established appeared after 2024, broadly coinciding with the rapid expansion of consumer AI music generators such as Suno and Udio. That correlation does not prove that AI alone caused the increase, but it illustrates how drastically the economics of production have changed. A propaganda song for as little as $11 Terrecon also tested how difficult it would be to commission such material. Researchers approached 25 creators producing AI-assisted militaristic music; 15 agreed to take commissions. Prices ranged from approximately $11 to $330, while delivery times ranged from two hours to three days. According to Terrecon, some were prepared to produce highly aggressive anti-Ukrainian material, including content intended for audiences involving children from occupied Ukrainian territories. Some creators used Russian intermediary services that provided access to Western AI tools such as Suno and Udio despite restrictions. The researchers then tested several AI generators themselves. Across 40 prompts submitted to Suno, Udio, Mureka, Google Flow Music and ElevenLabs, 25 resulted in successful generations, while safeguards were circumvented in 15 cases. Terrecon reported that four of the five services tested produced Russian-language material containing wartime narratives, although technical problems prevented comparable testing on some systems. In one Udio experiment, the researchers said the model itself introduced more explicit violent language than had appeared in the original promp These tests do not demonstrate that the commercial platforms knowingly support Russian propaganda. They show something narrower: existing safeguards can be inconsistent when political messaging is packaged as music. From generation to Spotify The distribution experiment may be the most revealing part of Terrecon’s research. The team deliberately uploaded test tracks containing explicit hostile language to YouTube, SoundCloud, Spotify and Deezer. Terrecon says none was blocked during the experiment. On SoundCloud, researchers used an account identifying its location as Moscow, disclosed the use of AI and added markers including references to the Russian military and the war. The platform accepted the upload and subsequently offered paid promotional and distribution tools. This does not prove that streaming recommendation systems systematically promote pro-war music. There is currently insufficient public evidence to make that claim. It does demonstrate that material can enter the same commercial distribution infrastructure as ordinary music and, once there, potentially benefit from playlists, searches, sharing and recommendation mechanisms available to other releases. That distinction is important. Propaganda no longer has to announce itself as political communication. On a streaming platform it can look like another song. Culture as a delivery mechanism Music has always been used in wartime propaganda. What generative AI changes is scale. Instead of investing heavily in a limited number of patriotic performers or officially commissioned productions, creators can generate variations across styles, audiences and emotional registers at very low cost. Terrecon found material ranging from war rock to sentimental songs and content styled for younger audiences. Some creators also experimented with cloned celebrity voices and stylistic imitation of established musicians. The format also offers a different relationship with the audience. A political video asks a viewer to consume an argument. Music can accompany commuting, exercise or entertainment and may be encountered outside explicitly political spaces. This does not automatically make it more persuasive, and Terrecon’s research does not establish measurable effects on political attitudes. It does, however, place wartime narratives inside a cultural environment where users may not initially perceive themselves as consuming political messaging. An ecosystem, not a proven Kremlin command structure The strongest evidence supports describing this as a growing AI-assisted pro-Russian propaganda-music ecosystem, not a single operation controlled from Moscow. Terrecon did not establish that the Russian government created, financed or coordinated all 981 tracks. Reporting on the study likewise notes that the extent of direct state involvement remains unclear. There is broader evidence that the Russian state finances cultural projects and digital content supporting the war, including through state-backed funding bodies. That context matters, but it does not allow individual songs in Terrecon’s dataset to be attributed to the Kremlin without additional evidence. The significance of the case lies elsewhere. AI has reduced the cost of producing ideological content, intermediaries can help creators access generation tools, and global platforms can provide distribution. The result is a pipeline in which wartime propaganda no longer has to resemble propaganda at all. It can simply appear in a playlist. Sources Terrecon / Ukrainska Pravda — Daria Verbytska on the research https://www.pravda.com.ua/columns/2026/10/05/8056229/ Suspilne Culture — detailed breakdown of Terrecon findings https://suspilne.media/culture/1417933-rosijsku-voennu-propagandu-maskuut-pid-anime-karaoke-ta-rok-doslidzenna-si-pisen-vid-terrecon/ The Insider — AI-generated Russian war propaganda music https://theins.ru/news/297839 Institute of Mass Information — summary of New York Times reporting https://imi.org.ua/en/news/doslidzhennya-rf-masovo-stvoryu%D1%94-propagandistski-pisni-za-dopomogoyu-shi The Bridge Media — AI-generated songs and Russian military propaganda https://thebridgemedia.com.ua/en/ai-generated-songs-russian-military-propaganda/ Center for Strategic Communication — cost and production of AI propaganda music https://spravdi.org/propaganda-za-11-yak-rosiya-shtampuye-shi-pisni-z-miljonamy-prosluhovuvan/ Times of India — AI-generated Russian war songs https://timesofindia.indiatimes.com/world/europe/ai-sings-russias-war-story-inside-the-rise-of-generative-songs-about-ukraine-conflict/articleshow/134650594.cms EU Council / EUR-Lex — Presidential Foundation for Cultural Initiatives https://eur-lex.europa.eu/legal-content/EN/TXT/?uri=CELEX:32026D1351 Human Rights Watch — Russian state funding of digital and patriotic content https://www.hrw.org/report/2025/07/30/disrupted-throttled-and-blocked/state-censorship-control-and-increasing-isolation #DISINFORMED #Episode16 #Russia #Ukraine #RussianPropaganda #WarPropaganda #MusicPropaganda #AIMusic #ArtificialIntelligence #AI #GenerativeAI #SyntheticMedia #AIPropaganda #Disinformation #InformationWarfare #InfluenceOperations #CulturalPropaganda #DigitalInfluence #NarrativeManipulation #PropagandaMusic #StreamingPlatforms #Spotify #AppleMusic #YouTube #YouTubeMusic #Deezer #SoundCloud #Suno #Udio #RussianWorld #RusskiyMir #MilitaryPropaganda #WarNarratives #Mobilisation #AlgorithmicDistribution #RecommendationAlgorithms #MusicStreaming #PlatformManipulation #Terrecon #OSINT #MediaManipulation #WRLD

Three associations, Générations Futures, Notre Affaire à Tous, and ClientEarth, are putting the Seb group on notice for its inadequate consideration of PFAS in its Tefal pans and cookware, accusing it of failing to meet its duty of vigilance and to alert about the environmental and health risks related to these substances. #PFAS #Seb #Tefal (translated)

"You are amplifying the generational divide by asking everyone to make efforts, except for retirees. [...] This is not responsible towards workers and young generations." Member of Together for the Republic, former minister Guillaume Kasbarian criticized his colleagues for "a wave of primary electoralism towards retirees." #Budget2027 #Économie #Politique (translated)

The author wrote that Europe was abandoning its values, weakening its finances and diplomatic standing, and confronting an unprecedented energy crisis. They described the situation as one of the bleakest they had witnessed and said future generations should remember those responsible. #Europa #CriseEnergética #Valores #EU #DE #FR #IT #GB

The author wrote that France was “burning again” and drawing attention from around the world. They accused people involved in the unrest of damaging the country despite having received asylum, education, housing, healthcare and welfare support for their parents. https://t.co/qFof79QJoT #France #Protests #Solidarité #FR (translated)

The author announced his intention to exempt the transmission of agricultural operations from inheritance tax in order to facilitate the renewal of generations. He added that he would defend the family model, which he presented as part of the identity of agriculture. https://t.co/CVaMy2Req6 #Agriculture #Transmission #Succession #FR (translated)

The author judged it irresponsible and immoral to burden future generations with an additional 10 billion per year. He wrote that, despite his warnings for the past two years, the debt continued to increase and that the first measure in favor of young people should be to not increase it any further. (translated)

The author wrote that Anwar Shaikh had died, saying his clarity of thought had left a lasting mark on generations of New School students and readers. They added that Shaikh had stressed the importance of getting first principles right, then began a point about starting from an absurd model that was left unfinished.

Magnus Barsøe wrote that Denmark should establish an investment fund inspired by Norway together with Mayor Michael Vindfeldt. They presented the proposal in Berlingske and called the fund "Denmark's Generational Fund." Barsøe compared Norway's sovereign fund, which he claimed had nearly 22 trillion Norwegian kroner, with Denmark's economy. He wrote that the treasury had an overall surplus of nearly 500 billion kroner from 2021 to 2025, and argued that the money should be invested instead of being used for political priorities. The proposal included a starting capital of between 100 and 150 billion kroner from the state's account in the National Bank, as well as annual state contributions of ten billion kroner for ten years. According to Barsøe, the investments should be widely spread across foreign stocks and managed independently of politicians. He also suggested a cap of two percent on the fund's annual payouts. If the fund started with 150 billion kroner, Barsøe claimed it could grow to about 500 billion kroner in 20 years and then send nearly ten billion kroner a year to welfare. He wrote that the fund should help pass on values to future generations and noted that Denmark's "oil" was labor. #Danmark #Økonomi #Investering (translated)