When we talk about the great innovation engines of the 20th century, two names stand out: Bell Labs and Xerox PARC. These legendary research institutions didn’t just push the boundaries of science and technology—they found solutions that brought us breakthroughs to challenges. The transistor, the laser, the UNIX operating system, the graphical user interface, and Ethernet networking all trace their origins to these hubs of long-range, cross-disciplinary thinking.

These breakthroughs didn’t happen by accident. They were the product of institutions that were intentionally designed to explore what might be possible outside the pressures of quarterly earnings reports–which means monthly which means weekly. Bell Labs and Xerox PARC proved that bold ideas need space, time, and a mandate to explore—even if commercial applications aren’t immediately apparent. You cannot solve big problems with an eye on weekly revenues–and I know that because I worked at A&M Records.

Now imagine if music had something like Bell Labs and Xerox PARC.

What if there were a Bell Labs for Music—an independent research and development hub where songwriters, engineers, logisticians, rights experts, and economists could collaborate to solve deep-rooted industry challenges? Instead of letting dominant tech platforms dictate the future, the music industry could build its own innovation engine, tailored to the needs of creators. Let’s consider how similar institutions could empower the music industry to reclaim its creative and economic future particularly confronted by AI and its institutional takeover.

Big Tech’s Self-Dealing: A $500 Million Taxpayer-Funded Windfall

While creators are being told to “adapt” to the age of AI, Big Tech has quietly written itself a $500 million check—funded by taxpayers—for AI infrastructure. Buried within the sprawling “innovation and competitiveness” sections of legislation being promoted as part of Trump’s “big beautiful bill,” this provision would hand over half a billion dollars in public funding—more accurately, public debt—to cloud providers, chipmakers, and AI monopolists with little transparency and even fewer obligations to the public.

Don’t bother looking–it will come as no surprise that there are no offsetting provisions for musicians, authors, educators, or even news publishers whose work is routinely scraped to train these AI models. There are no earmarks for building fair licensing infrastructure or consent-based AI training databases. There is no “AI Bell Labs” for the creative economy.

Once again, we see that innovation policy is being written by and for the same old monopolists who already control the platforms and the Internet itself, while the people whose work fills those platforms are left unprotected, uncompensated, and uninformed. If we are willing to borrow hundreds of millions to accelerate private AI growth, we should be at least as willing to invest in creator-centered infrastructure that ensures innovation is equitable—not extractive.

Innovation Needs a Home—and a Conscience

Bell Labs and Xerox PARC were designed not just to build technology, but to think ahead. They solved many future challenges often before the world even knew they existed.

The music industry can—and must—do the same. Instead of waiting for another monopolist to exercise its political clout to grant itself new safe harbors to upend the rules–like AI platforms are doing right now–we can build a space where songwriters, developers, and rights holders collaborate to define a better future. That means metadata that respects rights and tracks payments to creators. That means fair discovery systems. That means artist-first economic models.

It’s time for a Bell Labs for music. And it’s time to fund it not through government dependency—but through creator-led coalitions, industry responsibility, and platform accountability.

Because the future of music shouldn’t be written in Silicon Valley boardrooms. It should be composed, engineered, and protected by the people who make it matter.