Billie Eilish, Nicki Minaj, and the Jonas Brothers demand protection against AI in music
The open letter delivers a resolute demand for tech companies to refrain from developing AI tools that undermine or supplant human songwriters and artists.
By Vibhuti PathakApr 04, 2024
Artificial intelligence is taking over all industries, boosting efficiency, but after DeepFake cases, of famous personalities. Famous artists are demanding protection against the use of AI in music.
A coalition of over 200 prominent musicians, including industry heavyweights such as Billie Eilish, Nicki Minaj, and the Jonas Brothers, have united to issue a powerful statement cautioning against the unchecked use of artificial intelligence (AI) in the music industry.
This collective call to action, spearheaded by the Artist Rights Alliance advocacy group, focusses on concerns regarding the potential exploitation of artists' voices, likenesses, and creative expressions by AI technology.
The open letter, signed by an eclectic array of musical talents spanning genres and generations, delivers a resolute demand for tech companies to refrain from developing AI tools that undermine or supplant human songwriters and artists. The imperative to safeguard against the predatory use of AI, the letter asserts, “sabotage creativity and undermine artists, songwriters, musicians and rightsholders.”
Despite the call for vigilance, the letter stops short of advocating for a blanket ban on AI in music production, acknowledging the potential benefits that responsible AI use may offer to the industry. Indeed, AI technology has already been harnessed in various capacities within music production, from isolating vocals of deceased artists to creating "new" compositions to assisting with creative processes.
The fact that AI cannot replace creativity, but creativity can be misused and the voice of the artists can be misused under the pretence of AI is more dangerous than thought.
However, the proliferation of AI-generated content has raised profound ethical and legal concerns, particularly regarding copyright infringement and labour rights. In response, artist unions and advocacy organisations have intensified efforts to pressure lawmakers and tech companies to regulate AI usage, while also drawing attention to the potential risks posed by deepfake technology.
The letter's issuance comes amidst a broader industry-wide pushback against the unfettered expansion of generative artificial intelligence, with recent years witnessing high-profile contract negotiations and union strikes centred on protecting artists' rights. Notably, Tennessee recently enacted pioneering legislation dubbed the "Elvis Act," aimed at safeguarding musicians from having their vocal likeness replicated by AI for commercial purposes.
Yet, challenges persist, with the letter highlighting ongoing instances of tech companies leveraging artists' work without consent to train AI models, resulting in significant financial ramifications for creators. The Artist Rights Alliance, helmed by music industry veterans including board member Rosanne Cash, serves as a vital platform for amplifying artists' voices and advocating for their rights in the digital age.
As AI technology continues to evolve and permeate various facets of the music industry, artists find themselves at a critical juncture, grappling with the ethical implications of AI-generated content and striving to delineate boundaries for its responsible use. Amidst these complexities, the united front presented by the letter underscores the resolve of musicians to safeguard the integrity of their craft and preserve the fundamental rights of creators in the digital landscape.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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