A New Age

THE COLLABORATIVE AGE
What NVIDIA, Asian Tech, and the Future of AI Teach the Black Music Industry โ€” and the Entire African Diaspora
By Lennon English


INTRODUCTION: When a Musician Studies Microchips

Thereโ€™s something almost mystical about standing between two worlds. When one hand holds a saxophone and the other hand holds a candlestick chart, you start to see patterns most people miss. Folks assume music and technology live on opposite ends of the universe. But to me, theyโ€™re mirrors. Music trained my spirit. Technology sharpened my mind. Finance is disciplining me and teaching me strategy.

And somewhere inside that trifecta, I started seeing the world with new eyes.

The deeper I studied NVIDIA and the AI ecosystem rising quietly across East Asia, the more I realized that the Black music industry, the Black business landscape, and the global African diaspora have been living inside the same misunderstanding Western analysts have about AI.

We think weโ€™re watching a competition.
But the truth is, weโ€™ve been standing outside a collaboration.

This article is about that misunderstandingโ€”how NVIDIA became the conductor of the AI age, how Asian tech embraced deep cooperation instead of rivalry, and what the Black world can learn from that to build something stronger, freer, and more powerful than anything we’ve inherited.


PART I โ€” The West Doesnโ€™t Understand NVIDIA Because It Doesnโ€™t Understand Collaboration

When Western analysts talk about NVIDIA, itโ€™s always in the language of rivalry. AMD vs NVIDIA. Intel vs NVIDIA. Google TPUs vs GPUs. Itโ€™s all treated like a boxing match, round after round, quarter after quarter. Thatโ€™s the American way of seeing businessโ€”somebody wins, somebody loses.

But thatโ€™s not how the AI supply chain works. Not in the places that matter.

In East Asiaโ€”the true heart of global semiconductor powerโ€”companies donโ€™t fight each other. They synchronize. They specialize. They lift each other. They build an ecosystem, not an arena. TSMC doesnโ€™t want to be NVIDIA. ASML isnโ€™t trying to be Intel. Samsung isnโ€™t chasing Qualcomm.

Everybody becomes a master of one sacred craft, and they trust the others to do the same.

Thatโ€™s how you leapfrog a planet.

And NVIDIA, though technically an American company, aligned itself with that philosophy. They didnโ€™t try to dominate every part of the AI stack. They didnโ€™t try to compete with fabrication or materials science or memory production. They became the architectโ€”the mind that designs the future.

And hereโ€™s the part Wall Street still refuses to understand:

NVIDIA told the entire ecosystem what was coming 15 years ago.

They didnโ€™t hoard the vision.
They shared the roadmap.
They identified the companies who were the best at what they did in invested in and prepared them as their allies.’ leading the way into a bold future.

Due to NVIDIA’s partnerships, investments, and visionary leadership…

TSMC advanced lithography ahead of schedule.
ASML perfected EUV.
Samsung and SK Hynix built the memory stacks AI would need.
AMAT evolved the materials science.
Qualcomm refined wireless logic.

It was a coordinated leap forward.

Which is why AMD canโ€™t catch up, why Intel keeps stumbling, and why Googleโ€™s TPU still depends on NVIDIAโ€™s software world. The beautiful thing is, they no longer need to. In the last year, NVIDIA brought AMD and Intel into their global fold, investing billions in both companies and many others so they too could elevate and offer their very best technology to AI development and benefit from the collaborative success of the entire AI industry.

NVIDIA didnโ€™t โ€œbeatโ€ its competition.
It stepped outside the concept of competition entirely into global collaboration.

It became a conductor.
And the rest of Asia became the orchestra. We are watching a tech symphony.

Meanwhile the West is still arguing about whoโ€™s first chair in the trumpet section.

To make the Western misunderstanding even more ironic, NVIDIA publicly told investors in 2023 that it would no longer count China revenue due to political chaos. That means everything NVIDIA earns in China is โ€œextraโ€โ€”unmodeled, unexpected, unaccounted for.

Analysts keep underestimating NVIDIA because theyโ€™re using the wrong worldview. Theyโ€™re treating a family like a fight.


PART II โ€” The Same Misunderstanding Lives in the Black Music Industry

The more I saw how Western analysts misread NVIDIA, the more I started recognizing the same thing in the world I come from.

Black music built everythingโ€”jazz, blues, rock, funk, hip-hop, R&B, house, techno, Afrobeats. But instead of seeing our ecosystem as an interconnected universe, the industry treated each artist like a separate gladiator.

Whoโ€™s the king of R&B?
Whoโ€™s the queen of hip-hop?
Whoโ€™s the best producer?
Whoโ€™s on top this quarter?

Fragmentation was profitableโ€”for everybody but us.

Labels collaborated with each other:
sharing studios, sharing lawyers, sharing executives, sharing leverage.

But Black artists were encouraged to think individually, competitively, in isolation.

And yet every time Black artists managed to collaborateโ€”even brieflyโ€”we changed the world.

Parliament Funkadelic didnโ€™t just make music; they built an entire universe.
The Soulquarians created a new sonic era by sharing creativity like a jazz commune.
Wu-Tang built a licensing and branding empire that business schools still study.
OutKast transformed Atlanta into a cultural capital.
No Limit Records turned efficiency into an art form.
And Beyoncรฉ reconstructed the very idea of a fan base into something alive, intelligent, and global.

When we collaborate, we create worlds.
When we compete, we create moments.

Moments make hits.
Worlds make empires.

And empires last.


PART III โ€” The Diaspora Has the Same Problem: We Think Weโ€™re Separate

Looking at NVIDIAโ€™s ecosystem showed me a larger truth: the African diaspora has everything it needs to become a global superpowerโ€”except integration.

Africa holds the minerals.
The Caribbean holds shipping routes.
Black America holds cultural soft power.
Europe holds access to markets.
Brazil holds demographic strength.
Nigeria holds creative force.
Kenya holds fintech innovation.
Atlanta holds film and media.
Detroit holds manufacturing.
Lagos holds digital energy.

Weโ€™re not missing resources.
Weโ€™re missing coordination.

We donโ€™t lack talent.
We lack infrastructure.

Weโ€™re not short on creativity.
Weโ€™re short on connection.

We are NVIDIA at the level of innovation but early-2000s America at the level of structureโ€”everybody building separately, everybody competing for the same spotlight, everybody hustling with the same raw brilliance but without the shared blueprint.

Imagine if we built our version of NVIDIAโ€™s collaborative ecosystem.
Imagine if the diaspora stopped behaving like rivals and started operating like a global guild.
Imagine if every region mastered its specialty and trusted the others to hold theirs.

We would be unstoppable.


PART IV โ€” What the Black World Can Learn from NVIDIAโ€™s Philosophy

NVIDIAโ€™s secret is simple:
It collaborates.
It specializes.
It shares the blueprint.
It builds the ecosystem.
And by doing so, it controls the future without having to conquer anything.

The Black world can do the same.

Imagine a Black music economy where artists own the platforms, the algorithms, and the distribution pipelines. A world where Black tech companies train AI on our sounds and stories. A global network where diasporic nations and cities support each other, circulate wealth among each other, and build structures together.

A world where we donโ€™t chase acceptanceโ€”we design systems.
A world where we are no longer the soundtrack of cultureโ€”we are the architects of it.
A world where we stop being the performers and become the producers of the entire experience.

NVIDIA chose collaboration.
Asia chose orchestration.
And now itโ€™s time for the Black world to choose unity.

Not as a dream.
As a strategy.

Because when we move as one ecosystem, instead of a hundred isolated hustlers, we stop being competitors.

We become conductors.

We become creators on a planetary scale.
We become the NVIDIA of our own destiny.

And the world wonโ€™t just listen.
Itโ€™ll follow.

3I/ATLAS โ€” A Music-Minded Deep Dive into the Interstellar Symphony

“In The Age of Aquarius, the Daughters of the Children of the Sun will come to power on the shoulders of Lost Kings. It is then the world will know peace…”

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As someone who has spent forty years toggling between guitar solos and routing packets, between the harmony of a chord progression and the precision of a network handshake, the arrival of 3I/ATLAS (also designated C/2025 N1) feels like watching an alien chord change in the cosmic symphony. Hereโ€™s a detailed unpacking of what we do know about 3I/ATLAS, what remains puzzling, and how the provocative commentary from astrophysicist Avi Loeb fits (or wildly diverges) from the mainstream view.


1. Discovery, Trajectory & Basic Facts

  • 3I/ATLAS was discovered on 1 July 2025 by the Asteroid Terrestrialโ€‘impact Last Alert System (ATLAS) telescope in Rรญo Hurtado, Chile. (Astrobiology)
  • Its orbit is strongly hyperbolic, meaning it is not bound to the Sun and is passing through the Solar System only once (unless perturbed). (NASA Science Assets)
  • Some key numbers: perihelion (q โ‰ˆ 1.35) AU, eccentricity ~6.14, and incoming โ€œhyperbolic excess velocityโ€ on the order of ~60 km sโปยน. (NASA Science)
  • Its size is still uncertain: Hubble observations constrain its nucleus to be not more than ~5.6 km diameter (or ~1,444 ft to ~3.5 miles) but some analyses suggest larger bounds (depending on assumptions). (NASA Science)
  • Age estimates place its origin at 3-14 billion years ago (outside our Solar System, likely from the Galactic thick disk). (Wikipedia)

As a network engineer, I like to visualize orbit parameters like packet paths in a network topology: this one is clearly โ€œforeign-network trafficโ€ entering our local subnet once, and leaving forever.


2. Composition & Activity: What We Observe

From a โ€œmusic geniusโ€ vantage Iโ€™m listening for the instrumentation of this cometโ€”what materials, what volatiles, what signals it broadcasts.

COโ‚‚ dominance & water scarcity

  • Observations by the James Webb Space Telescope (JWST) show that the coma (i.e., the gaseous envelope around the nucleus) is strongly dominated by carbon dioxide (COโ‚‚) relative to water (Hโ‚‚O). Specifically a COโ‚‚/Hโ‚‚O mixing ratio of ~8.0 ยฑ 1.0 was observed at ~3.32 AU inbound. (arXiv)
  • Additionally, the SPHEREx mission detected a COโ‚‚-rich coma extending to at least ~348,000 km in radius. (SPHEREx)
  • Water activity was detected via the OH (hydroxyl) emission line using the Neil Gehrels Swift Observatory at ~3.51 AU, with a water production rate ~1.35 ยฑ 0.27 ร— 10ยฒโท molecules sโปยน (~40 kg/s) and the implication that >20โ€‰% of the surface might be active. (arXiv)
  • From a chemistry perspective: this is unusual for comets from our Solar System, which typically have much larger proportions of water relative to COโ‚‚ at those distances.

Polarimetric & spectral oddities

  • A recent polarimetric study found a โ€œdeep and narrow negative polarisation branchโ€ reaching about โ€“2.7% at ~7ยฐ phase angle and an inversion angle ~17ยฐ. These numbers are outside the usual range for either comets or asteroids. (arXiv)
  • Spectroscopy in optical/NIR shows a red slope (~10% per 1000 ร… between 0.5-0.8 ยตm) flattening at longer wavelengths, consistent with ~30 % water-ice grains mixed with a Tagish Lake-type meteorite analog in the coma. (arXiv)

Nickel (Ni) emission and Ni/Fe anomalies

  • One of the more striking recent findings: in a paper titled โ€œExtreme Ni I/Fe I abundance ratio in the coma of the interstellar comet 3I/ATLASโ€, observations with ESOโ€™s VLT UVES spectrograph found nickel (Ni I) emission at multiple epochs, but iron (Fe I) only detected at smaller heliocentric distances (โ‰ค2.64 AU). The Ni/Fe abundance ratio is exceptionally high compared to solar system comets. (arXiv)
  • Independent commentary (by Avi Loeb) points to a hypothesis of nickel tetracarbonyl (Ni(CO)โ‚„) formation as a plausible mechanism for the high Ni and low Fe, describing the pathway as โ€œa process that we can imagine only because it was used in industryโ€. (Medium)

From a network-engineerโ€™s lens: if typical comets are โ€œbroadband trafficโ€ of ice + dust + standard metals, 3I/ATLAS is presenting a weird encrypted packet type with non-standard headers (Ni without Fe, COโ‚‚-rich, unusual tail orientation). As a music lover, itโ€™s like a jazz piece where all your expected cadences are inverted or omitted.


3. Why the Speculation? Avi Loebโ€™s Perspective

Avi Loeb, known for provocative takes (e.g., on 1I/สปOumuamua), brings forward a series of observations and hypotheses about 3I/ATLAS, some of which are more speculative than mainstream. Iโ€™ll lay them out respectfully and then comment with my dual-perspective.

Loebโ€™s key speculative points:

  • He emphasises that the Ni emission without concurrent Fe is unprecedented in known comets, and in his view hints at either exotic chemistry or technological origin. (The Economic Times)
  • He highlights the observation of an anti-tail (a tail pointing toward the Sun rather than away) and suggests it might represent a โ€œbraking thrustโ€ or active manoeuvre rather than purely sublimation. (New York Post)
  • He uses what he calls the โ€œLoeb Scaleโ€ of object-origin likelihood (0 = natural rock, 10 = confirmed technology) and reportedly assigns 3I/ATLAS a mid-to-high number (though he emphasises it is not definitively artificial). (reddit.com)
  • Loeb cautions that if this object is technological, the implications โ€œare so huge for humanityโ€ and that we should maintain open-mindedness. (New York Post)

My commentary (music-meets-network-engineer lens):

  • As a musician, I adore thematic deviations: when a piece changes key unexpectedly or introduces an instrumentation you didnโ€™t expect, you pay attention. 3I/ATLAS is that in the cosmic concert: COโ‚‚-rich, Ni-emitting, Fe-lacking, with an odd tail orientation. These are valid anomalies worthy of investigation.
  • As a network engineer, Iโ€™m sleuthing for protocol anomalies: missing handshake, unexpected payload, odd routing. If a comet is โ€œexpected traffic,โ€ this one is more like an unknown protocol or even a disguised spoof.
  • But: anomalous โ‰  artificial. Cavernous data flows exist in nature; exotic chemistry can arise under unusual formation conditions (e.g., high-radiation environments, low metallicity, unique parent star systems). Loeb is right: we must consider all possibilities, but as an engineer I also demand reproducible logs and error-checking before declaring โ€œforeign packet source.โ€
  • Loebโ€™s stance: he isnโ€™t (to my reading) claiming itโ€™s alien tech, but rather saying: โ€œGiven the oddities, we should remain humble and keep all options open.โ€ Thatโ€™s healthy scientific posture but inevitably draws sensational headlines.

4. Outstanding Questions (and My Speculative Plays)

Here are some of the puzzles I find especially tantalising, with my engineer/harmonist speculation:

QuestionWhat the data showsMy speculative thought
Why such a high COโ‚‚/Hโ‚‚O ratio?JWST measured COโ‚‚/Hโ‚‚O โ‰ˆ 8.0 ยฑ 1.0, unusually high for a comet at ~3.3 AU. (arXiv)Could suggest formation beyond the COโ‚‚ ice-line in its parent system, or heavy radiation exposure depleting Hโ‚‚O ice. Imagine a string section missing the violins.
Why Ni but little/no Fe?VLT spectra show Ni emissions at multiple epochs; Fe only appears (if at all) at smaller distances, producing an extreme Ni/Fe ratio. (arXiv)One speculation: nickel-carbonyl (Ni(CO)โ‚„) or Ni bound organometallics sublimating easily; iron might be locked in larger refractory phases not yet sublimating. In music terms: youโ€™re hearing a drum solo but missing the bass line.
Why an anti-tail / sun-pointing jet?Observations report a tail (or coma extension) toward the Sun rather than the usual away-from-Sun tail. (IFLScience)Could be an anisotropic outgassing jet caused by local geometry. Or (speculatively) a manoeuvre-like effect. As an engineer: if the exhaust points toward the Sun, something is intentionally โ€žbrakingโ€œ the motion relative to solar gravity.
Why no large visible dust tail (yet) or what appear to be standard โ€œcometโ€ features?Some images show only a faint coma, not a huge dust tail. (Astrobiology)Perhaps the dust grains are large and not being accelerated by radiation pressure, or sublimation is dominated by COโ‚‚/CO rather than Hโ‚‚O so the dust dynamics differ. Or the nucleus is so large/massive that dust ejection has less net effect.
What is its origin star/region?Age estimate 7.6-14 billion years; trajectory from direction of Sagittarius, i.e., near the Galactic centre region for departure. (Wikipedia)Perhaps formed in a low-metallicity, early-type star system. If so, its chemistry may differ markedly from Solar-System comets, producing the unusual composition.

5. My Conclusion: Symphony of the Unknown

From my vantage of forty years of listening to music, learning networks, and reading science, hereโ€™s how I frame 3I/ATLAS:

  • It is every bit worthy of attention: we are looking not at a run-of-the-mill comet, but at a visitor from another star system, bringing its own โ€œinstrumentationโ€ and playing a tune we havenโ€™t heard before.
  • The major findings (COโ‚‚-dominance, unusual Ni/Fe, anti-tail) are real and documented in peer-review or arXiv. The anomalies are not just hype.
  • That said, the most dramatic speculation (technological origin, alien spacecraft) remains just thatโ€”speculation. Good speculation, thought-provoking, but not yet with conclusive evidence.
  • I personally lean toward a novel natural object hypothesis: a comet/planetesimal from a very different star system, formed under unusual conditions (different metallicity, different radiation history) so its composition and activity deviate from Solar-System norms. As my music analog: itโ€™s jazz from another planet, not necessarily a beamed-in radio transmission.
  • But I also reserve the possibility that if future data reveals genuine manoeuvre-like behaviour (non-gravitational acceleration inconsistent with outgassing, highly directed jets, artificial materials) then we might need to reconsider more exotic scenarios.

6. What to Watch Next

If youโ€™re as curious as I am, here are the things Iโ€™ll be tuning my sensors (and ears) for:

  • High-resolution images from missions (e.g., the HiRISE camera on the Mars Reconnaissance Orbiter reportedly imaged 3I/ATLAS near Mars) to better resolve nucleus size, shape, and dust environment. (Daily Galaxy)
  • Additional spectroscopic campaigns measuring Ni/Fe, CN, CO, OCS (carbonyl sulphide) and other volatiles as the object approaches perihelion (~29 October 2025) and recedes.
  • Precise astrometric tracking to detect non-gravitational acceleration (i.e., residual โ€œthrustโ€ not explained by outgassing) which could hint at active processes.
  • Continued polarimetric and dust-tail morphology studies to understand grain size distributions and outgassing geometry.
  • Cross-comparison: how does 3I/ATLAS compare with 1I/สปOumuamua and 2I/Borisov? Are we seeing a spectrum of interstellar visitors or a special outlier?

Final Thought

In the grand network of cosmic events, 3I/ATLAS is a rare packet injected into our Solar-System subnet, carrying payloads that challenge expectations. As a musician, I feel the dissonance and want to resolve it into new harmony. As an engineer, I log the anomalies, check the protocols, and await confirmation. Avi Loebโ€™s voice reminds us: maybe this isnโ€™t just another cometโ€”but until the data plays out, the melody remains unresolved. Either way, being a part of this moment is exhilarating.