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The RIAA, villain of the Napster era, turns its sights on AI firms — ‘It’s a lot more fun now’

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The RIAA, villain of the Napster era, turns its sights on AI firms -- 'It's a lot more fun now'

As someone who has witnessed the music industry evolve over the years, I can confidently say that the intersection of AI and music is indeed a fascinating and complex landscape. The potential for synthetic music to dominate the charts could be a real concern if we don’t put guardrails in place.

In the past week, a coalition of U.S. senators from both political parties proposed the NO FAKES Act, an initiative aimed at safeguarding artists’ musical performances and personal appearances in the age of artificial intelligence. One of the leading supporters behind this legislation is the Recording Industry Association of America (RIAA).

The organization that advocates for the interests of record labels regarding policy matters has recently been actively engaging in lawmaking and litigation, as advances in artificial intelligence are significantly altering the methods of producing, discovering, and utilizing music.

In June, the Recording Industry Association of America (RIAA) filed a lawsuit against two music AI companies, Suno and Udio, claiming they had illegally amassed copyrights to educate their systems without permission or compensation. According to RIAA chief Mitch Glazier, unauthorized services such as Suno and Udio, which assert it’s acceptable to replicate an artist’s life’s work for profit without consent, undermine the potential for truly groundbreaking AI technology for everyone.

Listen, according to CEO Mikey Shulman, the company is structured to create entirely fresh results, rather than learning and repeating pre-existing information.

As a passionate moviegoer and music enthusiast, I recently had an engaging conversation with Glazier about the evolving role of the Recording Industry Association of America (RIAA). We delved into their responsibilities in monitoring, nurturing, and harnessing the power of artificial intelligence, unraveling the mysterious workings behind Spotify’s algorithm, and discussing how their image as the ‘enforcer’ during the Napster era has been transformed.

There’s significant attention from both the government and legal bodies towards music and artificial intelligence. Can you draw parallels between this period and the emergence of file sharing in the ’90s and streaming services in the 2010s?

merging the menace of file sharing with the allure of streaming, we have a blend of both. Similar to file sharing, this is a significant technological transformation that will carry immense consequences for the music industry. While AI has proven beneficial as a creative resource, its misuse could pose threats comparable to those brought about by file sharing. Businesses perceive it as an opportunity, much like when streaming services offered legal alternatives and user-friendly platforms. However, if left unregulated, the potential abuse of AI could become a major threat.

Are artists currently utilizing AI for tasks like perfecting drum beats or suggesting tunes? Could there be potential issues related to creating synthetic music or misusing similarities with real musicians’ work?

The main concern lies with Generative AI, specifically nonconsensual forms of it. This occurs when you develop your AI model without obtaining consent from the creators whose work is used for training. This issue becomes particularly problematic when the AI can generate vast amounts of content, such as 10 million songs a day, which could potentially oversaturate the market and unfairly compete with original artists’ works.

What were the particular dangers in Suno and Udio’s models?

It’s possible that they secretly employed music from well-known artists to train their model, but they cleverly altered it to prevent identification of specific artists. To dodge legal issues, they introduced new subscription services and swiftly monetized it. However, we knew they didn’t have the necessary permission for the input. We needed to address this issue promptly because the technology was progressing rapidly and they weren’t transparent about their sources.

How could you tell what music they were training on?

The output itself contained clumps that were recognizable. Jason Derulo famously tags his music by singing “Jason Derulo.” When the AI output does that, you’re like, “I think I know where that came from.”

In this particular case, a significant factor was a statement made by one of the investors in the companies, essentially expressing that they wouldn’t have invested if the company had adhered to copyright laws, as such compliance would be overly restrictive. As these services evolve and become more established, filing this lawsuit serves as a warning to venture capitalists that it might not be prudent to invest in a service of this nature if it fails to obtain consent for its content.

Has the Recording Industry Association of America (RIAA) supported legislation such as the NO FAKES Act, expressing fears that an actor’s digital image could be manipulated or surrendered without consent? Should musicians also be concerned about similar issues?

Certainly. Here’s an example of a situation where record companies and artists have united forces to ensure that neither their voices nor visual representations can be utilized without prior approval. Imagine if someone falsely attributed words to you through the use of your own voice, what potential harm could it inflict on your career and personal standing?

As a passionate moviegoer and advocate for creative integrity, I’ve issued countless pleas for platforms to remove unauthorized imitations of artists like Drake and The Weeknd, as well as various forms of cloning, misinformation, and content that might be amusing but ultimately harmful. My experiences with these platforms have been a rollercoaster ride, which is why I’m fiercely advocating for federal protection of voice and likeness rights.

Tennessee recently enacted legislation known as the ELVIS Act, which addresses related matters. Notably, Nashville took the lead in implementing this change.

It seems to me that it’s not just coincidence; country artists have been swift to voice their opinions, as their fans value authenticity deeply. While other genres also require it, I believe there’s a unique allure in country music. Recently, Lainey Wilson and Randy Travis have advocated for a House bill, making compelling arguments. Nashville, in particular, has been instrumental in passing this legislation and encouraging artists to speak out on the issue.

Politicians recognize that their rivals might imitate their views, leading them to advocate positions contrary to what they genuinely believe. This is the reason why politicians like Marsha Blackburn and Chris Coons can appear in agreement on a particular issue.

In today’s music industry, many artists find it challenging to thrive. It’s not hard to envision a scenario where record labels exert pressure on artists to surrender their rights.

It’s crucial to establish boundaries in contracts, especially when dealing with major labels. Signing away your rights isn’t a one-time, forever agreement. For instance, if a manager proposes a deal at the age of 14, they might ask you to sign over the rights to your name, appearance, and likeness permanently, even after your death, for any purpose. Such practices require attention and regulation. We collaborated with SAG-AFTRA on legislation to ensure these boundaries, or guardrails, are in place.

Are you concerned that artificial Drake songs might dominate the music charts without much effort? While I’m not overly worried, it’s possible that streaming platforms could favor music they control or have ownership rights to. Does this concern you as well?

It’s clear we’re facing a shift. The question arises about the impact on music production studios that sell their libraries to AI firms for creating music. If you’re composing commercial music and sharing in licensing revenues, what implications might this have for you? After all, AI-generated music is cost-effective as it doesn’t require human labor or wages.

Furthermore, we should consider the problem of content saturation. Will these aggregators be permitted to upload tens of millions of tracks daily, making it challenging for new artists to gain traction and stand out? Which content will the algorithms prioritize? If audiences enjoy a particular piece, will more similar content be generated automatically? Will it be clearly identified as such? I believe these are significant commercial concerns.

By dusk, it’s clear that fans are selective about their bond with human creators, favoring genuine connections. Ultimately, the market caters to these discerning fans who seek authenticity. If we manage to establish legal protections for artists, I believe the fans will handle the rest.

There’s been talk about the reasons some songs have become popular on Spotify, with Discovery Mode being a particularly contentious topic. Some wonder if artists and record labels are facing increased pressure to pay for visibility, or if there’s concern that Spotify has its own agenda when it comes to determining what becomes trendy.

As a film critic, I find myself pondering over an intriguing concept: I’m not convinced that major label artists would be swayed by such a proposal. However, I share the same reservations about its scalability. If everyone surrendered their royalties for promotional opportunities, it ceases to be a valuable perk, as it becomes universal. In essence, this strategy seems counterproductive, undermining its purpose, or in film terms, self-defeating.

Transparency in our industry is crucial because we don’t want situations where artists lack access to their own data for self-promotion, or record labels can’t gather information about artists to find their audiences. Hiding vital information can lead to suspicion and fuel rumors. It gives the impression that things aren’t fair, which isn’t ideal.

In the ’90s and 2000s, there was a strong alliance between young music enthusiasts and technology companies, standing together against record labels. However, recently, it appears that more fans are aligning themselves against tech firms. What has caused this shift in allegiances during your time at the RIAA?

Today, traditional record companies no longer act as gatekeepers, as they no longer manage their own distribution channels. Instead, the control lies with technological platforms. As a result, I believe that artists, fans, and we, as a community, share common interests because our objectives have become aligned. The old power structure has shifted, and now the tech giants hold the reins, making them the new authority figure in this digital age.

Have people always seen the Recording Industry Association of America (RIAA) as a group that took legal action against individuals for illegally downloading songs through Napster? Does this perception still exist regarding the nature of your current work?

Nowadays, it’s much more enjoyable here due to some significant changes in the industry. Despite these alterations, our fundamental goal remains unchanged. We are grappling with finding effective ways to safeguard our record companies’ artists from copyright violations and also protect their personal brand, such as their name, image, and likeness. The evolution of streaming platforms and the democratization of the industry has shifted the approach towards enforcing these rights.

What conflicts and changes are on the horizon in music and AI?

What degree of human involvement is necessary in a partially machine-made work for it to be eligible for copyright protection, to prevent companies like Suno from claiming ownership over all music generated by their machines? In contrast, Randy Travis’ new track uses AI to reproduce his voice, allowing him to continue creating art despite health limitations. Is this sufficient human contribution? I find that an intriguing topic of discussion.

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2024-08-10 01:12

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