YouTube to offer option to flag AI-generated songs that mimic artists’ voices; The Guardian, November 14, 2023

 Dan Milmo , The Guardian; YouTube to offer option to flag AI-generated songs that mimic artists’ voices

"Record companies can request the removal of songs that use artificial intelligence-generated versions of artists’ voices under new guidelines issued by YouTube.

The video platform is introducing a tool that will allow music labels and distributors to flag content that mimics an artist’s “unique singing or rapping voice”.

Fake AI-generated music has been one of the side-effects of leaps forward this year in generative AI – the term for technology that can produce highly convincing text, images and voice from human prompts.

One of the most high-profile examples is Heart on My Sleeve, a song featuring AI-made vocals purporting to be Drake and the Weeknd. It was pulled from streaming services after Universal Music Group, the record company for both artists, criticised the song for “infringing content created with generative AI”. However, the song can still be accessed by listeners on YouTube."

Taking Back 'Funkytown': Songwriters Prepare For A Custody Battle; NPR's All Things Considered, 9/12/13

Joel Rose; NPR's All Things Considered Taking Back 'Funkytown': Songwriters Prepare For A Custody Battle: "When Congress revised U.S. copyright law in the 1970s, it granted "termination rights" to musicians and other creators, which allow them to regain control of their works after 35 years. (The law only applies to sound recordings released in 1978 or after.) Abdo says reclaiming ownership of "Funkytown" would allow his client to earn more in licensing fees and other revenues — exactly as Congress intended. "If you have a big hit or several big hits, then all of a sudden the deal that you made early in your career doesn't seem quite fair because it was very lopsided," Abdo says. "It gives the author a chance to get a second bite at the apple."... [O]ne big hurdle artists face is the question of whether a sound recording is a "work for hire." Since the 1970s, many labels have insisted on contract language that seems to define artists as employees of the label, Slotnick says."