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The ousted leader of ChatGPT-maker OpenAI is returning to the company that fired him late last week, culminating a days-long power struggle that shocked the tech industry and brought attention to the conflicts around how to safely build artificial intelligence.
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San Francisco-based OpenAI said in a statement late Tuesday: “We have reached an agreement in principle for Sam Altman to return to OpenAI as CEO with a new initial board.”
The board, which replaces the one that fired Altman on Friday, will be led by former Salesforce co-CEO Bret Taylor, who also chaired Twitter’s board before its takeover by Elon Musk last year. The other members will be former U.S. Treasury Secretary Larry Summers and Quora CEO Adam D’Angelo.
OpenAI’s previous board of directors, which included D’Angelo, had refused to give specific reasons for why it fired Altman, leading to a weekend of internal conflict at the company and growing outside pressure from the startup’s investors.
The chaos also accentuated the differences between Altman — who’s become the face of generative AI’s rapid commercialization since ChatGPT’s arrival a year ago — and members of the company’s board who have expressed deep reservations about the safety risks posed by AI as it gets more advanced.
Microsoft, which has invested billions of dollars in OpenAI and has rights to its current technology, quickly moved to hire Altman on Monday, as well as another co-founder and former president, Greg Brockman, who had quit in protest after Altman’s removal. That emboldened a threatened exodus of nearly all of the startup’s 770 employees who signed a letter calling for the board’s resignation and Altman’s return.
One of the four board members who participated in Altman’s ouster, OpenAI co-founder and chief scientist Ilya Sutskever, later expressed regret and joined the call for the board’s resignation.
Microsoft in recent days had pledged to welcome all employees who wanted to follow Altman and Brockman to a new AI research unit at the software giant. Microsoft CEO Satya Nadella also made clear in a series of interviews Monday that he was still open to the possibility of Altman returning to OpenAI, so long as the startup’s governance problems are solved.
“We are encouraged by the changes to the OpenAI board,” Nadella posted on X late Tuesday. “We believe this is a first essential step on a path to more stable, well-informed, and effective governance.”
In his own post, Altman said that “with the new board and (with) Satya’s support, I’m looking forward to returning to OpenAI, and building on our strong partnership with (Microsoft).”
Co-founded by Altman as a nonprofit with a mission to safely build so-called artificial general intelligence that outperforms humans and benefits humanity, OpenAI later became a for-profit business but one still run by its nonprofit board of directors. It’s not clear yet if the board’s structure will change with its newly appointed members.
“We are collaborating to figure out the details,” OpenAI posted on X. “Thank you so much for your patience through this.”
Nadella said Brockman, who was OpenAI’s board chairman until Altman’s firing, will also have a key role to play in ensuring the group “continues to thrive and build on its mission.”
Hours earlier, Brockman returned to social media as if it were business as usual, touting a feature called ChatGPT Voice that was rolling out to users.
“Give it a try — totally changes the ChatGPT experience,” Brockman wrote, flagging a post from OpenAI’s main X account that featured a demonstration of the technology and playfully winking at recent turmoil.
“It’s been a long night for the team and we’re hungry. How many 16-inch pizzas should I order for 778 people,” the person asks, using the number of people who work at OpenAI. ChatGPT’s synthetic voice responded by recommending around 195 pizzas, ensuring everyone gets three slices.
As for OpenAI’s short-lived interim CEO Emmett Shear, the second interim CEO in the days since Altman’s ouster, he posted on X that he was “deeply pleased by this result, after (tilde)72 very intense hours of work.”
“Coming into OpenAI, I wasn’t sure what the right path would be,” wrote Shear, the former head of Twitch. “This was the pathway that maximized safety alongside doing right by all stakeholders involved. I’m glad to have been a part of the solution.”
This is The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between.
This week: Sean “Diddy” Combs is accused of rape amid an ongoing wave of music industry sexual abuse lawsuits; Shakira settles her $15 million tax evasion case on the eve of trial; UMG defeats a lawsuit filed by artists over its lucrative ownership stake in Spotify; and more.
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THE BIG STORY: Diddy Sued As Music #MeToo Wave Continues
Following a string of abuse cases against powerful men in the music industry, Sean “Diddy” Combs was sued by R&B singer and longtime romantic partner Cassie over allegations of assault and rape — and then settled the case just a day later.
In a graphic complaint, attorneys for Cassie (full name Casandra Ventura) claimed she “endured over a decade of his violent behavior and disturbed demands,” including repeated physical beatings and forcing her to “engage in sex acts with male sex workers” while he masturbated. Near the end of their relationship, Ventura claimed that Combs “forced her into her home and raped her while she repeatedly said ‘no’ and tried to push him away.”
Combs immediately denied the allegations as “offensive and outrageous.” He claimed Cassie had spent months demanding $30 million to prevent her from writing a tell-all book, a request he had “unequivocally rejected as blatant blackmail.”
Read the full story on the lawsuit here.
Just a day after it was filed, Combs and Ventura announced that they had reached a settlement to resolve the case. Though quick settlements can happen in any type of lawsuit, it’s pretty unusual to see a case with such extensive and explosive allegations end just 24 hours after it was filed in court. “I wish Cassie and her family all the best,” Combs said in a statement. “Love.”
Both sides quickly put their spin on the settlement. A former staffer at Cassie’s law firm sent out a statement arguing that the quick resolution was “practically unheard of” and suggesting it showed the “evidence against Mr. Combs was overwhelming.” Combs’ lawyer, Ben Brafman, put out his own statement reiterating that a settlement — “especially in 2023” — was “in no way an admission of wrongdoing.”
Read the full story on the settlement here.
The case against Combs is the most explosive sign yet that, six years after the start of the #MeToo movement, the music industry is currently experiencing something of a second iteration.
Sexual assault lawsuits were filed earlier this month against both former Recording Academy president/CEO Neil Portnow and label exec Antonio “L.A.” Reid, and in October longtime publishing exec Kenny MacPherson was sued for sexual harassment. Before that, sexual misconduct allegations were leveled at late Atlantic Records co-founder Ahmet Ertegun; Backstreet Boys member Nick Carter; singer Jason Derulo; and ex-Kobalt exec Sam Taylor.
Many of the recent cases have been filed under New York’s Adult Survivors Act, a statute that created a limited window for alleged survivors to take legal action over years-old accusations that would typically be barred under the statute of limitations. With that look-back period set to end on Thursday (Nov. 23), more cases could be coming in the next few days. Stay tuned…
Other top stories this week…
UMG WINS CASE OVER SPOTIFY STAKE – A federal judge dismissed a class action against Universal Music Group that challenged the fairness of its 2008 purchase of shares in Spotify. The case, filed by ’90s hip-hop duo Black Sheep, accused the company of taking lower-than-market royalty rates in return for a chunk of equity that’s now worth hundreds of millions. But the judge ruled that such a maneuver — even if proven true — wouldn’t have violated UMG’s contract with its artists.
A$AP ROCKY TO STAND TRIAL – A Los Angeles judge ruled that there was enough evidence for A$AP Rocky to stand trial on felony charges that he fired a gun at a former friend and collaborator outside a Hollywood hotel in 2021. The 35-year-old hip-hop star’s lawyer vowed that “Rocky is going to be vindicated when all this is said and done, without question.”
SHAKIRA SETTLES TAX CASE – The Columbian superstar agreed to a deal with Spanish authorities to settle her $15 million criminal tax fraud case that could have resulted in a significant prison sentence for the singer. After maintaining her innocence for five years, Shakira settled on the first day of a closely-watched trial: “I need to move past the stress and emotional toll of the last several years and focus on the things I love,” she said.
ROD WAVE MERCH CRACKDOWN – The rapper won a federal court order empowering law enforcement to seize bootleg merchandise sold outside his Charlotte, N.C., concert, regardless of who was selling it. He’s the latest artist to file such a case to protect ever-more-valuable merch revenue following Metallica, SZA, Post Malone and many others.
MF DOOM NOTEBOOK BATTLE – Attorneys for Eothen “Egon” Alapatt fired back at a lawsuit that claims he stole dozens of private notebooks belonging to the late hip-hop legend MF Doom, calling the case “baseless and libelous” and telling his side of the disputed story.
“THE DAMAGE WILL BE DONE” – Universal Music Group asked for a preliminary injunction that would immediately block artificial intelligence company Anthropic PBC from using copyrighted music to train future AI models while their high-profile case plays out in court.
DIDDY TEQUILA CASE – In a separate legal battle involving Diddy, a New York appeals court hit pause on his lawsuit against alcohol giant Diageo that accused the company of racism and failing to adequately support his DeLeon brand of tequila. The court stayed the case while Diageo appeals a key ruling about how the dispute should proceed.
Microsoft snapped up Sam Altman and another architect of OpenAI for a new venture after their sudden departures shocked the artificial intelligence world, leaving the newly installed CEO of the ChatGPT maker to paper over tensions by vowing to investigate Altman’s firing.
The developments Monday come after a weekend of drama and speculation about how the power dynamics would shake out at OpenAI, whose chatbot kicked off the generative AI era by producing human-like text, images, video and music.
It ended with former Twitch leader Emmett Shear taking over as OpenAI’s interim chief executive and Microsoft announcing it was hiring Altman and OpenAI co-founder and former President Greg Brockman to lead Microsoft’s new advanced AI research team.
Despite the rift between the key players behind ChatGPT and the company they helped build, both Shear and Microsoft Chairman and CEO Satya Nadella said they are committed to their partnership.
Microsoft invested billions of dollars in the startup and helped provide the computing power to run its AI systems. Nadella wrote on X, formerly known as Twitter, that he was “extremely excited” to bring on the former executives of OpenAI and looked “forward to getting to know” Shear and the rest of the management team.
In a reply on X, Altman said “the mission continues,” while Brockman posted, “We are going to build something new & it will be incredible.”
OpenAI said Friday that Altman was pushed out after a review found he was “not consistently candid in his communications” with the board of directors, which had lost confidence in his ability to lead the company.
In an X post Monday, Shear said he would hire an independent investigator to look into what led up to Altman’s ouster and write a report within 30 days.
“It’s clear that the process and communications around Sam’s removal has been handled very badly, which has seriously damaged our trust,” wrote Shear, who co-founded Twitch, an Amazon-owned livestreaming service popular with video gamers.
He said he also plans in the next month to “reform the management and leadership team in light of recent departures into an effective force” and speak with employees, investors and customers.
After that, Shear said he would “drive changes in the organization,” including “significant governance changes if necessary.” He noted that the reason behind the board removing Altman was not a “specific disagreement on safety.”
OpenAI last week declined to answer questions on what Altman’s alleged lack of candor was about. Its statement said his behavior was hindering the board’s ability to exercise its responsibilities.
An OpenAI spokeswoman didn’t immediately reply to an email Monday seeking comment. A Microsoft representative said the company would not be commenting beyond its CEO’s statement.
After Altman was pushed out Friday, he stirred speculation that he might be coming back into the fold in a series of tweets. He posted a photo of himself with an OpenAI guest pass on Sunday, saying this is “first and last time i ever wear one of these.”
Hours earlier, he tweeted, “i love the openai team so much,” which drew heart replies from Brockman, who quit after Altman was fired, and Mira Murati, OpenAI’s chief technology officer who was initially named as interim CEO.
It’s not clear what transpired between the announcement of Murati’s interim role Friday and Shear’s hiring, though she was among several employees on Monday who tweeted, “OpenAI is nothing without its people.” Altman replied to many with heart emojis.
Shear said he stepped down as Twitch CEO because of the birth of his now-9-month-old son but “took this job because I believe that OpenAI is one of the most important companies currently in existence.”
His beliefs on the future of AI came up on a podcast in June. Shear said he’s generally an optimist about technology but has serious concerns about the path of artificial intelligence toward building something “a lot smarter than us” that sets itself on a goal that endangers humans.
It’s an issue that Altman consistently faced since he helped catapult ChatGPT to global fame. In the past year, he has become Silicon Valley’s most sought-after voice on the promise and potential dangers of artificial intelligence.
He went on a world tour to meet with government officials earlier this year, drawing big crowds at public events as he discussed both the risks of AI and attempts to regulate the emerging technology.
Altman posted Friday on X that “i loved my time at openai” and later called his ouster a “weird experience.”
“If Microsoft lost Altman he could have gone to Amazon, Google, Apple, or a host of other tech companies craving to get the face of AI globally in their doors,” Daniel Ives, an analyst with Wedbush Securities, said in a research note.
Microsoft is now in an even stronger position on AI, Ives said. Its shares rose nearly 2% before the opening bell and were nearing an all-time high Monday.
The Associated Press and OpenAI have a licensing and technology agreement allowing OpenAI access to part of the AP’s text archives.
Universal Music Group (UMG) wants a federal judge to immediately block artificial intelligence company Anthropic PBC from using copyrighted music to train future AI models, warning that the “damage will be done” by the time the case is over.
A month after UMG sued Anthropic for infringement over its use of copyrighted music to train its AI models, the music giant on Thursday demanded a preliminary injunction that will prohibit the AI firm from continuing to use its songs while the case plays out in court.
The music giant warned that denying its request would allow Anthropic “to continue using the Works as inputs, this time to train a more-powerful Claude, magnifying the already-massive harm to Publishers and songwriters.”
“Anthropic must not be allowed to flout copyright law,” UMG’s lawyers wrote. “If the Court waits until this litigation ends to address what is already clear—that Anthropic is improperly using Publishers’ copyrighted works—then the damage will be done.”
“Anthropic has already usurped Publishers’ and songwriters’ control over the use of their works, denied them credit, and jeopardized their reputations,” the company wrote. “If unchecked, Anthropic’s wanton copying will also irreversibly harm the licensing market for lyrics, Publishers’ relationships with licensees, and their goodwill with the songwriters they represent.”
UMG filed its lawsuit Oct 18, marking the first major case in what is expected to be a key legal battle over the future of AI music. Joined by Concord Music Group, ABKCO and other music companies, UMG claims that Anthropic – valued at $4.1 billion earlier this year — is violating copyrights en masse by using songs without authorization to teach its AI models learn how to spit out new lyrics.
“In the process of building and operating AI models, Anthropic unlawfully copies and disseminates vast amounts of copyrighted works,” lawyers for the music companies wrote. “Publishers embrace innovation and recognize the great promise of AI when used ethically and responsibly. But Anthropic violates these principles on a systematic and widespread basis.”
AI models like the popular ChatGPT are “trained” to produce new content by feeding them vast quantities of existing works known as “inputs.” Whether doing so infringes the copyrights to that underlying material is something of an existential question for the booming sector, since depriving AI models of new inputs could limit their abilities. Content owners in many sectors – including book authors, comedians and visual artists – have all filed similar lawsuits over training.
Anthropic and other AI firms believe that such training is protected by copyright’s fair use doctrine — an important rule that allows people to reuse protected works without breaking the law. In a filing at the Copyright Office last month, Anthropic previewed how it might make such argument in UMG’s lawsuit.
“The copying is merely an intermediate step, extracting unprotectable elements about the entire corpus of works, in order to create new outputs,” the company wrote in that filing. “This sort of transformative use has been recognized as lawful in the past and should continue to be considered lawful in this case.”
But in Thursday’s motion for the injunction, UMG and the music companies sharply disputed such a notion, saying plainly: “Anthropic’s infringement is not fair use”
“Anthropic … may argue that generative AI companies can facilitate immense value to society and should be excused from complying with copyright law to foster their rapid growth,” UMG wrote. “Undisputedly, Anthropic will be a more valuable company if it can avoid paying for the content on which it admittedly relies, but that should hardly compel the Court to provide it a get-out-of-jail-free card for its wholesale theft of copyrighted content.”
A spokesperson for Anthropic did not immediately return a request for comment on Friday.
CreateSafe, a music technology studio known best for its work on Grimes’ AI voice model, has raised $4.6 million in seed round funding for its new AI music creation toolkit, TRINITI.
Offering a “full creative stack” for musicians from the inception of songwriting to its release, TRINITI’s round was led by Polychain Capital, a cryptocurrency and blockchain tech investment firm, as well as Crush Ventures, Anthony Saleh (manager of Kendrick Lamar, Nas and Gunna), Paris Hilton’s 11:11 Media, MoonPay, Chaac Ventures, Unified Music Group and Dan Weisman (vp at Bernstein Private Wealth Management).
Grimes has also joined CreateSafe’s advisory board to continue to collaborate with the brand.
Starting today, TRINITI will offer five tools:
Voice transformation and cloning: make your own voice model and offer it up for licensing, transform your voice into someone else’s
Sample Generation: create audio samples from text-based prompts
Chat: ask questions to a chat bot trained on music industry knowledge
Distribution: share music on streaming services
Management: manage rights to songs and records
“Music is the core of humankind,” said CreateSafe founder/CEO Daouda Leonard. “However, the story of music as a profession has been corrupted by middle men, who have misguided the industry while taking money from artists. For a few years, we’ve been saying that we are building the operating system for the new music business. With AI, it’s possible to fulfill that promise. We want to pioneer the age of exponential creativity and give power back to creators. With TRINITI, you can turn inspiration into a song and set of visuals. That music gets distributed to DSPs, a marketing plan can be generated, and all of the business on the backend can be easily managed. This whole process takes seconds.”
“As a team we’d always discussed finding novel ways of wealth redistribution via art,” added Grimes. “We immediately hopped onto blockchain tech because of the new possibilities for distribution, cutting out middle men, etc. Throwing generative music into the picture and removing all our label strings so we can reward derivative music — combined with everything we’d been working towards the last few years with blockchain — allowed a unique approach to distribution.
“I’m really proud of the team that they were able to execute this so fast and with such vision,” Grimes continued. “There’s a lot to talk about but ultimately, art generates so much money as an industry and artists see so little of it. A lot of people talk about abundance as one of the main end goals of tech, acceleration, AI, etc… for us the first step is actually figuring out how to remove friction from the process of getting resources into artists’ hands.”
Robert Kyncl, CEO of Warner Music Group, praised YouTube’s AI-powered voice generation experiment, which launched this week with the participation of several Warner acts, including Charlie Puth and Charli XCX, during a call with financial analysts on Thursday (Nov. 16).
Kyncl proposed a thought experiment: “Imagine in the early 2000s, if the file-sharing companies came to the music industry, and said, ‘would you like to experiment with this new tool that we built and see how it impacts the industry and how we can work together?’ It would have been incredible.”
While it’s hard to imagine the tech-averse music industry of the early 2000s would’ve jumped at this opportunity, Kyncl described the YouTube’s effort as “the first time that a large platform at a massive scale that has new tools at its disposal is proactively reaching out to its [music] partners to test and learn.” “I just want to underscore the significance of this kind of engagement,” he added. (He used to work as chief business office at YouTube.)
For the benefit of analysts, Kyncl also outlined the company’s three-pronged approach to managing the rapid emergence of AI-powered technologies. First, he said it was important to pay attention to “generative AI engines,” ensuring that they are “licensing content for training” models, “keeping records of inputs so that provenance can be tracked,” and using a “watermarking” system so that outputs can be tracked.
The next area of focus for Warner: The platforms — Spotify, TikTok, YouTube, Instagram, and more — where, as Kyncl put it, “most of the content… will end up because people who are creating want views or streams.” To manage the proliferation of AI-generated music on these services, Kyncl hoped to build on the blueprint the music industry has developed around monitoring and monetizing user-generated content, especially on YouTube, and “write the fine print for the AI age.”
Last but certainly not least, Kyncl said he was meeting with both politicians and regulators “to make sure that regulation around AI respects the creative industries.” He suggested two key goals in this arena: That “licensing for training [AI models] is required,” and that “name, image, likeness, and voice is afforded the same protection as copyright.”
YouTube is launching an experimental feature Thursday (Nov. 16) that will create artificial intelligence-generated voices of well-known artists for use in clips on YouTube shorts. The initial selection of acts participating in the program includes Charlie Puth, John Legend, Sia, T-Pain, Demi Lovato, Troye Sivan, Charli XCX, Alec Benjamin and Papoose.
YouTube’s feature, called Dream Track, creates pieces of music — voice along with musical accompaniment — based on text prompts that are up to 30 seconds in length. For now, around 100 U.S.-based creators will have Dream Track access.
“At this initial phase, the experiment is designed to help explore how the technology could be used to create deeper connections between artists and creators, and ultimately, their fans,” according to a blog post from Lyor Cohen, global head of music, and Toni Reid, vp of emerging experiences and community.
The music industry has been wary of AI this year, but several prominent executives voiced their support for Dream Track. “In this dynamic and rapidly evolving market, artists gain most when together we engage with our technology partners to work towards an environment in which responsible AI can take root and grow,” Universal Music Group chairman and CEO Lucian Grainge said in a statement. “Only with active, constructive and deep engagement can we build a mutually successful future together.”
“YouTube is taking a collaborative approach with this Beta,” Robert Kyncl, CEO of Warner Music Group, said in a statement of his own. “These artists are being offered the choice to lean in, and we’re pleased to experiment and find out what the creators come up with.”
YouTube emphasized that Dream Track is an experiment. The artists involved are “excited to help us shape the future,” Cohen said in an interview. “Being part of this experiment allows them to do it.” That also means that, for now, some of the underlying details — how is the AI tech trained? how might this feature be monetized at scale? — remain fuzzy.
While the lawyers figure all that out, the artists involved in Dream Track sounded enthusiastic. Demi Lovato: “I am open minded and hopeful that this experiment with Google and YouTube will be a positive and enlightening experience.” John Legend: “I am happy to have a seat at the table, and I look forward to seeing what the creators dream up during this period.” Sia: “I can’t wait to hear what kinds of recipes all you creators out there come up with.”
While YouTube’s AI-generated voices are likely to get the most attention, the platform also announced the release of new AI music tools. These build on lessons learned from the “AI Music Incubator” the platform announced in August, according to Demis Hassabis, CEO of Google Deepmind. Through that program, “some of the world’s most famous musicians have given feedback on what they would like to see, and we’ve been inspired by that to build out the technology and the tools in certain ways so that it would be useful for them,” Hassabis explained in an interview.
He ticked off a handful of examples: An artist can hum something and AI-powered technology will create an instrumental based on the tune; a songwriter can pen two musical phrases on their own and rely on the tools to help craft a transition between them; a singer can come in with a fully fledged vocal melody and ask the tech to come up with musical accompaniment.
Finally, YouTube is rolling out another feature called SynthID, which will watermark any of the AI-generated audio it produces so it can be identified as such. Earlier this week, the platform announced that it would provide labels and others music rights holders the ability “to request the removal of AI-generated music content that mimics an artist’s unique singing or rapping voice.”
Moises, an AI music and audio start-up, has partnered with HYPERREAL, a visual effects company, to create a “proprietary digital human asset” called Hypermodel. This will allow artists to create their digital versions of themselves for marketing, creative and fan engagement purposes.
HYPERREAL has already been collaborating with musicians since 2021, when he worked with Paul McCartney and Beck on their music video for “Find My Way.” In the video, Beck went undercover as a younger version of 81-year-old McCartney, using HYPERREAL to swap and de-age their faces.
Moises is a popular AI music and audio company that provides a suite of tools for musicians, including stem separation, lyric transcription, and voice synthesis.
According to the press release, Moises and HYPERREAL believe this collaboration will especially help the estates of legacy artists to bring the artist’s legacy “to life” and will allow artists to sing or speak in another language using AI voice modeling provided by Moises, helping to localize songs and marketing content to specific regions.
Translations and estate or legacy artist marketing are seen as two of the most sought after new applications of AI for musicians. Last week, pop artist Lauv collaborated with AI voice start-up Hooky to translate his song “Love U Like That” into Korean as a thank you to his steadfast fanbase in the region. This is not the first time AI has been used to translate an artist’s voice — it was first employed in May by MIDNATT, a Korean artist who used the HYBE-owned voice synthesis company Supertone to translate his debut single into six languages — but Lauv’s use of the technology was the first popular Western artist to try it.
Estates are starting to leverage AI as well to essentially bring a late artist back to life. On Tuesday, Nov 14, Warner Music announced plans to use AI to recreate the voice and image of legendary “La Vie En Rose” singer, Edith Piaf, for an upcoming biopic about her life and career. Over in Korea, Supertone remade the voice of late South Korean folk artist Kim Kwang-seok, and Tencent’s Lingyin Engine made headlines for developing “synthetic voices in memory of legendary artists,” like Teresa Teng and Anita Mui as a way to revive interest in their catalogs.
“Moises and HYPERREAL are each best-in-class players with a history of pushing creative boundaries enabled by technology while fully respecting the choices of artists and rights holders,” says Moises CEO Geraldo Ramos. “As their preferred partner, we’re looking forward to seeing the ways HYPERREAL, can leverage Moises’s voice modeling capabilities to add incredibly realistic voices to their productions.”
“We have set the industry standard and exceeded the expectations of the most demanding directors and producers time and time again,” says Remington Scott, founder and CEO of HYPERREAL. “In addition to Moises’s artist-first approach, the quality of their voice models is the best we’ve heard.”
YouTube will introduce the ability for labels and others music rights holders “to request the removal of AI-generated music content that mimics an artist’s unique singing or rapping voice,” according to a blog post published on Tuesday (Nov. 14).
Access to the request system will initially be limited: “These removal requests will be available to labels or distributors who represent artists participating in YouTube’s early AI music experiments.” However, the blog, written by vice presidents of of product management Jennifer Flannery O’Connor and Emily Moxley, noted that YouTube will “continue to expand access to additional labels and distributors over the coming months.”
This marks the latest step by YouTube to try to assuage music industry fears about new AI-powered technologies — and also position itself as a leader in the space.
In August, YouTube published its “principles for partnering with the music industry on AI technology.” Chief among them: “it must include appropriate protections and unlock opportunities for music partners who decide to participate,” wrote CEO Neil Mohan.
YouTube also partnered with a slew of artists from Universal Music Group on an “AI music incubator.” “Artists must play a central role in helping to shape the future of this technology,” the Colombian star Juanes said in a statement at the time. “I’m looking forward to working with Google and YouTube… to assure that AI develops responsibly as a tool to empower artists.”
In September, at the annual Made on YouTube event, the company announced a new suite of AI-powered video and audio tools for creators. Creators can type in an idea for a backdrop, for example, and a new feature dubbed “Dream Screen” will generate it for them. Similarly, AI can assist creators in finding the right songs for their videos.
In addition to giving labels the ability to request the takedown of unauthorized imitations, YouTube promised on Tuesday to roll out enhanced labels so that viewers know they are interacting with content that “is synthetic”: “We’ll require creators to disclose when they’ve created altered or synthetic content that is realistic, including using AI tools.”
TikTok announced a similar feature in September. Of course, self disclosure has its limits — especially as it is already reported that many creators experiment with AI without admitting it.
According to YouTube, “creators who consistently choose not to disclose this information may be subject to content removal, suspension from the YouTube Partner Program, or other penalties.”
Warner Music has announced plans to use AI technology to recreate the voice and image of legendary French artist, Edith Piaf, in an upcoming full-length animated film. Titled EDITH, the upcoming project is developed by production company Seriously Happy and Warner Music Entertainment in partnership with the Piaf’s estate.
EDITH is set to be a 90-minute film, chronicling the life and career of the famous singer as she traveled between Paris and New York. The voice clone of Piaf will narrate the story, revealing new details about her life never before known.
The AI models used to aid EDITH’s storytelling were trained on hundreds of voice clips and images of the late French singer-songwriter to, as a press release puts it, “further enhance the authenticity and emotional impact of her story.” The story will also feature recordings of her songs “La Vie En Rose” and “Non, Je Ne Regrette Rien,” which are part of the Warner Music catalog.
The story will be told through a mix of animation and archival footage of the singer’s life, including clips of her stage and tv performances, interviews and personal archives. EDITH is the brain child of Julie Veille, who previously created other French-language music biographies like Stevie Wonder: Visionnaire et prophète, Diana Ross, suprême diva, Sting, l’électron libre. The screenplay was written by Veille and Gilles Marliac and will be developed alongside Warner Music Entertainment President, Charlie Cohen. The proof of concept has been created, and the team will soon partner with a studio to develop it into a full-length film.
This is not the first time AI voice clones have been used to aid in the storytelling of a film. Perhaps the most cited example of this was Roadrunner (2021), a documentary about the life of chef and TV host Anthony Bourdain, who passed away in 2018. AI was used to bring back Bourdain’s voice for about 45 seconds. During that time, a deepfaked Bourdain spoke a letter he wrote during his life aloud to the audience.
Visual AI and other forms of CGI have also been employed in movies in recent years to resurrect the likenesses of deceased icons, including Carrie Fisher, Harold Ramis and Paul Walker. Even James Dean, who died in 1955 after starring in only three films, is currently being recreated using AI for an upcoming film titled Back to Eden.
The EDITH project is likely just the start of estates using AI voice or likeness recreation to rejuvenate the relevance of deceased artists and grow the value of older music catalogs. Already, HYBE-owned AI voice synthesis company Supertone remade the voice of late South Korean folk artist Kim Kwang-seok, and Tencent’s Lingyin Engine made headlines for developing “synthetic voices in memory of legendary artists,” like Teresa Teng and Anita Mui.
Veille says, “It has been the greatest privilege to work alongside Edith’s Estate to help bring her story into the 21st century. When creating the film we kept asking ourselves, ‘if Edith were still with us, what messages would she want to convey to the younger generations?’ Her story is one of incredible resilience, of overcoming struggles, and defying social norms to achieve greatness – and one that is as relevant now as it was then. Our goal is to utilize the latest advancements in animation and technology to bring the timeless story to audiences of all ages.”
Catherine Glavas and Christie Laume, executors of Edith Piaf’s estate, add, “It’s been a special and touching experience to be able to hear Edith’s voice once again – the technology has made it feel like we were back in the room with her. The animation is beautiful and through this film we’ll be able to show the real side of Edith – her joyful personality, her humor and her unwavering spirit.”
Alain Veille, CEO of Warner Music France, says, “Edith is one of France’s greatest ever artists and she is still a source of so much pride to the French people. It is such a delicate balancing act when combining new technology with heritage artists, and it was imperative to us that we worked closely with Edith’s estate and handled this project with the utmost respect. Her story is one that deserves to be told, and through this film we’ll be able to connect with a whole new audience and inspire a new generation of fans.”
