By Maria Sherman, Music Writer
LOS ANGELES (AP) --Stevie Wonder, Miranda Lambert, Billie Eilish, Nicki Minaj, Peter Frampton, Katy Perry, Smokey Robinson and J Balvin are just some of the over 200 names featured on a new open letter submitted by the Artist Rights Alliance non-profit, calling on artificial intelligence tech companies, developers, platforms, digital music services and platforms to stop using AI "to infringe upon and devalue the rights of human artists," according to the letter.
The Artist Rights Alliance is an artist-led non-profit organization that advocates for musicians in a precarious digital economy.
The letter, while acknowledging the creative possibilities of new AI technology, addresses some of its threats to human artistry. Those include using preexisting work to train AI models — without permissions — in an attempt to replace artists and therefore "substantially dilute the royalty pools that are paid out to artists."
"This assault on human creativity must be stopped," the letter reads. "We must protect against the predatory use of AI to steal professional artists' voices and likenesses, violate creators' rights, and destroy the music ecosystem."
Last month, Tennessee became the first state to pass legislation designed to protect songwriters, performers and other music industry professionals against the potential dangers of artificial intelligence. Supporters say the goal is to ensure that generative AI tools cannot replicate an artist's voice without their consent.
The bill — dubbed the Ensuring Likeness, Voice, and Image Security Act or "ELVIS Act" — goes into effect July 1.
"We employ more people in Tennessee in the music industry than any other state," Tennessee Gov. Bill Lee told reporters shortly after signing the bill into law. "Artists have intellectual property. They have gifts. They have a uniqueness that is theirs and theirs alone, certainly not artificial intelligence."
Carrie Coon Relishes Being Part Of An Ensemble–From “The Gilded Age” To “His Three Daughters”
It can be hard to catch Carrie Coon on her own.
She is far more likely to be found in the thick of an ensemble. That could be on TV, in "The Gilded Age," for which she was just Emmy nominated, or in the upcoming season of "The White Lotus," which she recently shot in Thailand. Or it could be in films, most relevantly, Azazel Jacobs' new drama, "His Three Daughters," in which Coon stars alongside Natasha Lyonne and Elizabeth Olsen as sisters caring for their dying father.
But on a recent, bright late-summer morning, Coon is sitting on a bench in the bucolic northeast Westchester town of Pound Ridge. A few years back, she and her husband, the playwright Tracy Letts, moved near here with their two young children, drawn by the long rows of stone walls and a particularly good BLT from a nearby cafe that Letts, after biting into, declared must be within 15 miles of where they lived.
In a few days, they would both fly to Los Angeles for the Emmys (Letts was nominated for his performance in "Winning Time" ). But Coon, 43, was then largely enmeshed in the day-to-day life of raising a family, along with their nightly movie viewings, which Letts pulls from his extensive DVD collection. The previous night's choice: "Once Around," with Holly Hunter and Richard Dreyfus.
Coon met Letts during her breakthrough performance in "Who's Afraid of Virginia Wolfe?" on Broadway in 2012. She played the heavy-drinking housewife Honey. It was the first role that Coon read and knew, viscerally, she had to play. Immediately after saying this, Coon sighs.
"It sounds like something some diva would say in a movie from the '50s," Coon says. "I just walked around in my apartment in my slip and I had pearls and a little brandy. I made a grocery list and I just did... Read More