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Studio Ghibli-Style AI Images and the Legal Questions They Raise

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By: Esha Kher

In recent weeks, AI-generated images mimicking the iconic look of Studio Ghibli have gone viral across platforms like X and Instagram, sparking controversy. Selfies, family portraits, and memes have been transformed into soft, pastel-hued depictions that echo the dreamlike aesthetic of the legendary Japanese animation studio. Founded in 1985 by Hayao Miyazaki, Isao Takahata, and Toshio Suzuki, Studio Ghibli is renowned for its rich storytelling and distinctive, heartwarming visual style—now replicated widely through AI.

The recent trend in which users generate AI images using the latest version of OpenAI’s GPT-4o, mimicking Studio Ghibli’s aesthetic, has gained immense traction on social media, even causing server overloads. This emerging trend has sparked considerable debate, dividing public opinion into two camps: AI enthusiasts and staunch critics of AI-generated art. Supporters view the phenomenon as a tribute to Studio Ghibli’s influence and a democratization of creative tools. Critics, however, find this trend to be both a hollow and inauthentic imitation of Hayao Miyazaki’s distinct style—devoid of creative soul or artistic merit. An old clip of Miyazaki himself resurfaced during the controversy, in which he vehemently denounced AI-generated imagery as “an insult to life itself”. 

Regardless of one’s stance on the debate, the trend raises important legal questions. Do AI models rely on copyrighted material to replicate distinct visual styles? And when these outputs resemble a studio’s recognizable aesthetic, like that of Studio Ghibli, do they risk infringing on copyright or trademark protections?

How ChatGPT Generates “Stylized” Images

GPT-4o uses an autoregressive algorithm to generate images by breaking them down into visual “tokens,” which function like words in a sentence. Just as ChatGPT predicts the most likely sequence of words in a sentence, generative image models predict and assemble these visual tokens to form coherent images. Through training on large datasets of images and text, the model learns to associate certain patterns, like color palettes or brushstrokes, with specific words, encoding them as abstract “styles” within its neural network. So when a user references “Studio Ghibli,” the model doesn’t retrieve frames from actual films but instead draws on a learned mathematical representation of the studio’s aesthetic (otherwise known as “Ghibli-ness”). This ability to isolate and apply visual features across new images is known as a “style engine”. 

Copyright Law Implications 

The use of style engines has raised entirely new questions about copyright law and creative ownership. U.S. copyright law doesn’t protect certain artistic styles, the law only protects the unique ways those styles are expressed or, in other words, original works of authorship. 

However, legal experts caution that this distinction may not be sufficient. While “style” in the abstract is not copyrightable, what people casually refer to as “style” may include recognizable, discrete elements of a work of art. Therefore, the blanket statement that an artistic style isn’t protectable under copyright law may not be absolute. Courts may still find infringement if generated images include elements that are original, expressive, and substantially similar to the copyrighted works.

This legal ambiguity is at the heart of Andersen v. Stability AI, a landmark lawsuit filed in 2022 by three visual artists against AI companies Stability AI, Midjourney, and DeviantArt. The artists allege that these companies used their copyrighted artworks without consent to train AI models like Stable Diffusion, which can generate images that imitate their distinctive styles. The plaintiffs argue that such outputs constitute derivative works, and even if the results aren’t direct copies, the unauthorized use of their works in training data alone may amount to copyright infringement. Similar concerns have surfaced in other lawsuits, including Huckabee v. Meta and Millette v. Nvidia, where creators claim that their content was scrapped and repurposed by generative AI platforms, raising serious questions about how copyright applies in the context of machine learning.

Further, there is growing concern that OpenAI may have used Studio Ghibli’s films and artwork to train its generative image model without prior consent from the animation studio. This could constitute copyright infringement if the works were repurposed in a way that exceeds the scope of what is allowed under the fair use doctrine. The fair use doctrine permits the use of copyrighted material for specific purposes, such as academic research or the creation of an entirely new invention. OpenAI maintains that training its models is fair use under copyright law, but this defense is largely untested. 

Trademark Law Implications

Beyond copyright law, Studio Ghibli could assert that OpenAI’s generation of “Ghibli-style” images infringes upon its trademark rights under the Lanham Act. While an animation style—such as Studio Ghibli’s distinctive visual aesthetic—is not independently protected by trademark law and does not trigger the traditional “likelihood of confusion” test used in trademark infringement claims, other aspects of trademark law may still apply. 

When there is no registered trademark involved, Section 43(a) of the Lanham Act (15 U.S.C. § 1125(a)) provides broader protection by prohibiting false endorsement, sponsorship, or affiliation. Under this provision, a claim can arise when: (1) a defendant uses elements closely associated with a person or brand, such as names, visual likenesses, or identifying characteristics, and (2) this use creates a false impression in the minds of consumers that there is a connection, endorsement, or affiliation with the original brand. 

In this context, while Studio Ghibli may not have a registered trademark on its animation “style” per se, OpenAI’s promotion of “Ghiblification” experiments—along with OpenAI employees sharing Ghibli-style portraits of themselves on social media—could potentially give rise to a false endorsement claim under § 43(a). This is especially true if such references imply to the public that Studio Ghibli has authorized or collaborated with OpenAI in developing these tools. Even allowing prompts such as “in the style of Studio Ghibli” could lead consumers to mistakenly believe that Studio Ghibli has endorsed or is affiliated with the image generation process. While this may not amount to traditional trademark infringement, it opens the door to a false association claim under the broader protections of the Lanham Act. 

Conclusion

The rise of AI-generated art in the style of Studio Ghibli underscores the growing legal uncertainty surrounding copyright and trademark protections.​ As of now, Studio Ghibli has not initiated any legal action against OpenAI regarding the AI-generated images mimicking its distinctive animation style. Nonetheless, there might be grounds to pursue action under U.S. law. While U.S. copyright law does not formally protect artistic styles, the line becomes blurry when AI outputs closely resemble original works in expression and substance. At the same time, Studio Ghibli may have a claim under trademark law, particularly if the AI-generated images create consumer confusion or falsely present an endorsement by the studio. By capitalizing on Ghibli’s recognizable aesthetic, OpenAI risks infringing on the studio’s brand and artistic reputation. These unresolved legal questions underscore the need for updated legal frameworks that account for how AI systems produce and distribute creative content without prior consent from creators.

The Coachella Festival: A Celebration of Art, Camping, Live Music and Litigation! 

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By Mackenzie Kinsella

The Coachella Valley Music and Arts Festival 

The Coachella Valley Music and Arts festival is undoubtedly one of the most iconic music festivals. Coachella is held yearly in Indio, California. The festival is traditionally held over two weekends in April and lasts three days per weekend. Since its inception in 1999, this festival has hosted some of the most popular names in music including Harry Styles, Beyonce, the Red Hot Chili Peppers, Lady Gaga and Prince. In the early 2020s, Coachella has attracted record breaking amounts of attendees, including an average daily attendance of about 125,000 festival goers. In 2023, the festival had over 500,000 attendees over the two weekends. As a result, Coachella is a very lucrative festival bringing in hundreds of millions of dollars. Although Coachella has always landed huge headliners and huge crowds, Coachella also has a lengthy history of litigation over the trademarks associated with the festival’s brand. 

Previous Coachella Trademark Litigation 

            Coachella’s litigious history has included rival festivals and clothing lines. In 2017, the Coachella Valley Music and Art Festival filed a lawsuit against Urban Outfitters for trademark infringement. Coachella claimed that one of Urban Outfitter’s brands, Free People, was infringing on its trademark by using the festival’s name in advertising specific products, the “Coachella” boot, the “Coachella Valley” tunic and the “Coachella” mini dress. Additionally, Coachella argued that Free People’s use of its trademark name would confuse consumers in determining what products were actually authorized Coachella merchandise and what were Free People’s products. Coachella’s trademark litigation battles, however, do not end with Free People. 

            Coachella’s fight for brand protection continued in 2022 when the festival giant sued Afrochella, a Ghana musical festival. Coachella claims that the Afrochella name is intentionally using the well-known Coachella and Chella trademarks by using this trademark to promote Afrochella’s own festival. The Coachella festival argues that the use of Afrochella would likely cause confusion within the festival market and consumers may associate Afrochella with the Coachella brand. While this kind of litigation history may seem alarming, Coachella’s adamant efforts to protect its trademark are warranted given trademark law’s protection. Trademark law holds trademark owners responsible for enforcing its trademark within its marketplace; if there are more brands that coexist with similar names, then the original trademark owner’s protection is weakened. Once a brand or company name becomes so commonplace that the name is not connected solely to the original product brand genericide occurs. Brand genericide is a major problem for companies today, especially considering the time it takes for a brand to become generic has decreased over time with the increased use of social media and universal language. 

Current “Moechella” Litigation 

            Currently, Coachella is suing the creators of Moechella, a concert series in Washington D.C. Similar to its previous legal arguments, Coachella is arguing that this Moechella festival will cause confusion by suggesting an affiliation with Coachella. Furthermore, Coachella is suggesting that the association due to the similar event name is damaging due to a deadly shooting that occured at a previous Moechella festival. Coachella is asking the Court for an injunction to prevent the use of the Moechella name, the logo, any profits using the term Moechella, punitive damages, attorney’s fees and compensation for corrective advertising. However, this degree of legal action against Moechella is gaining some criticism. Moechella’s trademark use is being critiqued as a David vs. Goliath battle. Moechella is being deemed, by critics of Coachella, as the party focused on a community initiative against the billion dollar Goliath. Moechella’s trademark application was blocked by Coachella’s legal team. However, Moechella’s creators claim that the Moechella’s event purpose is to uplift Black music and not monetize a name. Justin “Yaddiya” Johnson, a Moechella creator, claims that such litigation is an aggressive move to stop the expression of Black music. However, given the pressure on trademark owners to be mindful of brand genericide, it can be argued that trademark owners, like Coachella, have to be proactive to protect their products. 

Bad Beat: Iowa Gambling Probe Allegedly Violated Student Athletes’ Constitutional Rights with Warrantless Geofence

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By: Sam William Kuper

“I hope all of these athletes at Iowa (UI) and Iowa State (ISU) take the State of Iowa to the cleaners.” UI men’s wrestling coach Tom Brands did not mince words describing the recent fallout from actions taken by the Iowa Division of Criminal Investigation (DCI) against student athletes. Last year, over a dozen student athletes and students at UI and ISU were criminally charged and some were suspended by the NCAA under suspicion of illegal sports gambling. However, a recent motion by defendant Isaiah Lee, a former ISU football player, alleges that the  charges were a result of an unconstitutional “warrantless search.”

Initial Investigation

Back in May of 2023, the DCI initiated an investigation of UI and ISU student athletes suspected of sports gambling in violation of state and NCAA rules. 25 current or former UI and ISU athletes and student managers were charged because of the investigation. Many for “tampering with records”—an aggravated misdemeanor that carries a maximum sentence of up to two years in prison—for allegedly falsifying personal electronic sports wagering records by utilizing the accounts of others to place sports bets. 16 pleaded guilty, with most pleading guilty to the lesser charge of underage gambling. Some of those charged were subsequently suspended by the NCAA, with different punishments depending on whether their wagers were on their own games or that of other sports or schools. For example, Isaiah Lee faced permanent ineligibility for placing a bet against his own team in a game where ISU beat Texas 30-7.

Alleged “Warrantless Search”

Isaiah Lee’s January 22nd Motion to Compel outlines his version of the facts. First, it is important to understand that gambling companies such as FanDuel and DraftKings must verify the location of their mobile users to make sure they are in a jurisdiction where sports gambling is legal. They do so via the company GeoComply, who act as the “custodians of data and processing” on behalf of their customers.

In December of 2022, Special DCI Agent Brian Sanger was given access to GeoComply’s data visualization and data analytics tool, Kibana. He used the software tool to place a “Geofence”—a virtual fence on a desired geographic area that reveals data of users within that area—around an athletic facility at UI where access is restricted to athletes, coaches, and support personnel. After he found gambling apps were opened inside the geofence, he requested subpoenas to obtain identifying account and bet information—leading to criminal charges for the student athletes.

According to the motion, Sanger did not remember why he initiated the search, but that he was “concerned about things such as people infiltrating Iowa’s sports team to gain insider information or match fixing.” However, he apparently did so without “warrant[s], tips, complaints, or evidence that illegal gambling was occurring.” The purpose of the discovery motion is to compel the State to disclose the circumstances and communications surrounding how and why Sanger and the DCI came to be in use of Kibana, and the types of searches he performed with it. For context, GeoComply’s website states they only comply with data requests from law enforcement if it is “legally binding and valid.”

What is a Fourth Amendment regulated search?

The Fourth Amendment of the U.S. Constitution protects people from unreasonable searches and seizures by government actors (like Sanger). The modern “reasonable expectation of privacy” or “REP” test as to whether Fourth Amendment protections apply was stated in Justice Harlan’s concurrence in Katz v. United States (1967): (1) the person must have exhibited an actual (subjective) expectation of privacy; and (2) that expectation must be one that society is prepared to recognize as “reasonable.” If these requirements are met, then the Fourth Amendment applies and the government needs a warrant based on probable cause to search.

However, under the “third-party exposure doctrine,” a person has no legitimate expectation of privacy in what they knowingly expose to the public or third parties. For example, the Supreme Court has held that there is no REP in garbage left on the curb of your home for pickup. But this standard has been heavily controversial in the digital age, as modern consumers often “reveal a great deal of information about themselves to third parties”—such as Google, Facebook, and their cell phone providers. In the landmark case Carpenter v. United States (2018) a 5-4 court declined to extend this doctrine to tracking cell-site location information for longer than seven days—suggesting that users have a reasonable expectation of privacy in their location history despite its disclosure to parties like Google. In addition, the court held in Kyllo v. United States (2001) that “[w]here . . . the Government uses a device that is not in general public use, to explore details of the home that would previously have been unknowable without physical intrusion, the surveillance is a ‘search’ and is presumptively unreasonable without a warrant.” There, the government unconstitutionally used a thermal imaging device to scan the defendant’s home for heaters used in growing marijuana without a warrant. 

Did the student athletes have a REP?

The question of whether student athletes like Isaiah Lee are protected by the Fourth Amendment is complicated. While the first prong of the REP test is uncontroversially met, the second prong, along with the third-party exposure doctrine, raises many questions.

For example, what kind of location data was used? GeoComply’s website says they collect GPS, GSM, Wi-Fi, and IP Address data from the user’s device to verify location accuracy. Many universities, like UW, have a policy of turning over evidence of illegal activities on their network as soon as possible after detection. Thus, one would likely not have a REP of illegal activities while on UW’s network (however, UI does appear to have a greater level of privacy protection). But if, by chance, GeoComply only used GPS data, and the students were using solely their cellular network to access the gambling applications, there would likely be a stronger argument in favor of a REP.

With the alleged facts we have as of now, this case resembles Kyllo. The government used “a device that is not in general public use” (geofence software Kibana) “to explore details of the home that would previously have been unknowable without physical intrusion” (whether mobile phones in dorms and athletics facilities accessed gambling apps) without a warrant supported by probable cause. The debate is whether a public school’s dorms and athletics facilities should carry the same level of protection as a home.

What would be the remedy?

If the court finds Sanger’s use of the geofence software to be unconstitutional, the remedy would be the “exclusionary rule.” This would prevent the government from using the evidence gathered, along with any evidence gathered because of the original evidence (such as the identifying account information gathered because of the original geofence) in criminal prosecution. Thus, all the currently pending UI and ISU cases would likely be dismissed. But could the students then bring a civil action against Sanger under 42 U.S.C. 1983 for compensatory damages (such as lost wages from being suspended by the NCAA)? That is an entirely different question.

Sand Trap: The Future of the PGA Tour’s Nonprofit Status

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By: Sam William Kuper

“Saudi Arabia’s sovereign wealth fund” is not a collection of words typically linked to tax-exempt nonprofits. However, that is exactly who stands to benefit from the century-old 501(c)6 Internal Revenue Code when the PGA Tour and LIV Golf complete their tentative agreement to merge in 2024. But is this merger and the PGA Tour’s planned continued use of its tax exemption as necessarily bad—or even evil—as many politicians are saying they will be?

Money Talks

Led by Chairman Crown Prince Mohammed Bin Salman (de facto leader of Saudi Arabia) and Governor Yassir Al-Rumayyan (former chairman of Saudi Arabia’s national oil company, Aramco), Saudi Arabia’s Public Investment Fund (“PIF”) has over $700 billion USD in assets and is seen as a cornerstone for the development of Saudi Arabia’s Vision 2030 project. Starting in 2014, PIF began investing and reaching beyond Saudi Arabia’s borders to extend its influence and investment opportunities. From stakes in Silicon Valley sweethearts Uber and WeWork(oof) to video game icons Electronic Arts and Activision Blizzard, PIF has become an investment hegemon. Its next goal? Dominating international sports.

Coined “sportswashing,” PIF has used its immense wealth to insert itself into the world’s most popular sports in an attempt to bolster its reputation and hide from Saudi Arabia’s awful human rights record. They bought a middling Premier League soccer team and infused it with cash. They backed Formula One races in Saudi Arabia, headlined by post-race concerts from Travis Scott, Charlie Puth, and Calvin Harris. PIF’s crown jewel, however, was its introduction of LIV Golf in October of 2021.

(Don’t) Pay for Play

For the better part of a century, the PGA Tour has been the preeminent golf league in the world. In 2021, it hosted 113 tournaments in 36 U.S. states and 10 countries, with about 200 golfers competing for $765 million in prize money. It generated over $1.59 billion in revenue and paid executives over $30 million—with Commissioner Jay Monahan raking in $13 million. The catch? They have been a 501 (c)6 tax-exempt nonprofit since 1977.

Initially enacted within the 1913 Tariff Act, 501(c)6 organizations (in comparison to 501(c)3) are organizations that share a common business interest. Their purpose is to promote that interest for the benefit of their members, and “not to engage in a regular business of a kind ordinarily carried on for profit.” In return, they must publicly file a 990 form disclosing their finances—including their sources of funding, charitable donations, and payments to executives.

The PGA Tour was not alone in claiming this exception amongst its peers. In 1966, the Tariff Act was amended to include “football leagues” when the National Football League (NFL) merged with a competitor. Major League Baseball (MLB) and the National Hockey League (NHL) also claimed nonprofit status in the decades following. But while the MLB, NHL, and NFL have all discarded their non-profit status in recent years, the PGA Tour has remained steadfast—mostly because their players are individual contractors and not member teams who make their own profits from ticket sales, merchandise, etc.

By co-sponsoring tournaments with 501(c)3 charities (such as the FedeEx St. Jude Classic), the PGA Tour provides a platform for raising money. However, a 2013 ESPN report flamed the PGA Tour for donating just 16% of its revenue from tournaments on average to charities—the industry standard is 65%—and in one case, caused a charity to lose money.

Pitching the Wedge

Documents prepared for PIF by Mckinsey & Company—known to hold authoritarian governments as clients—advised that LIV needed to lure the top 12 players in the world from the PGA Tour to be profitable. They managed four. Nicknamed “Project Wedge,” LIV’s launch was met with expected criticism. Signing stars like Phil Michelson, Dustin Johnson, and Bryson DeChambeau to massive contracts, the PGA immediately banned them from future Tour events. Commissioner Monahan publicly admonished these players, saying that he “would ask any player that has left, or any player that would consider leaving, ‘have you ever had to apologize for being a member of the PGA Tour?’” In its first season, LIV spent $784 million on 8 events. Their revenue was “virtually zero.”

But despite LIV’s flop, they persisted—and the golf world was thrown into further chaos. The 11 banned golfers sued the PGA Tour for antitrust violations and the PGA counterclaimed for tortious interference. The Justice Department launched its own antitrust investigation into professional golf. But in May of 2023, over breakfast near Palazzo Ducale in Venice, Monahan and Al-Rumayyan came to terms with what, in hindsight, was likely inevitable.

Big Beautiful Deal

The announced agreement, described by former President Trump as “big, beautiful, and glamourous,” would combine the European Tour, LIV Golf, and the PGA Tour into one, new for-profit entity that would control the PGA’s commercial rights. The PGA Tour would retain its nonprofit status and control over how tournaments are played. LIV would reserve the exclusive right to invest in the company. Al-Ramyan would be the Chairman. All lawsuits would be dropped. Almost immediately, two Senate committees launched investigations into the merger so they could assess the “risks associated with a foreign government’s investment in American cultural institutions, and the implications of this planned agreement on professional golf in the United States going forward.”

“Golf is a sport in which players call penalties on themselves, whether an infraction is visible to others or not” – PGA Tour mission statement

“Any hypocrisy I have to own.” Jay Monahan, in walking back his initial comments about players leaving for LIV, reiterated that he felt like the merger was best for golf. But it is without a doubt problematic. From Saudi Arabia’s connection to 9/11 to the 2018 killing of Washington Post journalist Jamaal Kashoggi, there is no good way to frame Saudi involvement in American sport.

But here are the facts. The PGA Tour has raised $3.6 billion for charitable donations since 1938, and $1.6 billion since 2014. In 2021, it generated $173 million, or about 12% of total revenue—just 8 million away from cracking the top 100 of the most charitable organizations in the U.S. The NFL Foundation, in contrast, gave away $70 million in 2022, or about .5% of the NFL’s total revenue. Patagonia, who was widely praised for shifting ownership to a nonprofit and dedicating 100% of its profits to environmental causes, still gives away only about 6.6% of its revenue.

We still do not know much about the details of the merger or the future of the PGA Tour as a nonprofit. But if the PGA Tour either decides or is forced to give up its nonprofit status, it will no longer be required to publicly disclose its finances. With Al-Rumayyan serving as the chairman for the new joint entity, and PIF’s reputation for a lack of transparency, this would likely not be an optimal outcome.

Saudi Arabian investment in American culture is not coming—it is already here. But its benefits here of providing consistent wages for all professional golfers, making the game more available across the globe, and ultimately raising more money for charities, may be worth it. We should push for clarity, disclosure, and charitable giving when we can, in whatever form that may take.

(A.I.) Drake, The Weeknd, and the Future of Music

/ Washington Journal of Law, Technology & Arts / 1 Comment

By: Melissa Torres

A new song titled “Heart on My Sleeve” went viral this month before being taken down by streaming services. The song racked up 600,000 Spotify streams, 275,000 YouTube views, and 15 million TikTok views in the two weeks it was available. 

Created by an anonymous TikTok user, @ghostwriter977, the song uses generative AI to mimic the voices of Drake and The Weeknd. The song also featured a signature tagline from music producer Metro Boomin. 

Generative AI is a technology that is gaining popularity because of its ability to generate realistic images, audio and text. However, concerns have been raised about its potential negative implications, particularly in the music industry, because of its impact on artists. 

Universal Music Group (UMG) caught wind of the song and had the original version removed from platforms due to copyright infringement. 

UMG, the label representing these artists, claims that the Metro Boomin producer tag at the beginning of the song is an unauthorized sample. YouTube spokesperson Jack Malon says, “We removed the video after receiving a valid copyright notification for a sample included in the video. Whether or not the video was generated using artificial intelligence does not impact our legal responsibility to provide a pathway for rights holders to remove content that allegedly infringes their copyrighted expression.”

While UMG was able to remove the song based on an unauthorized sample of the producer tagline, it still leaves the legal question surrounding the use of voices generated by AI unanswered. 

In “Heart on My Sleeve”, it is unclear exactly which elements of the song were created by the TikTok user. While the lyrics, instrumental beat, and melody may have been created by the individual, the vocals were created by AI. This creates a legal issue as the vocals sound like they’re from Drake and The Weeknd, but are not actually a direct copy of anything. 

These issues may be addressed by the courts for the first time, as initial lawsuits involving these technologies have been filed. In January, Andersen et. al. filed a class-action lawsuit raising copyright infringement claims. In the complaint, they assert that the defendants directly infringed the plaintiffs’ copyrights by using the plaintiffs’ works to train the models and by creating unauthorized derivative works and reproductions of the plaintiffs’ work in connection with the images generated using these tools.

While music labels argue that a license is required because the AI’s output is based on preexisting musical works, proponents for AI maintain that using such data falls under the fair use exception in copyright law. Under the four factors of fair use, advocates for AI claim the resulting works are transformative, meaning they do not create substantially similar works and have no impact on the market for the original musical work.

As of now, there are no regulations regarding what training data AI can and cannot use. Last March, the US Copyright Office released new guidance on how to register literary, musical, and artistic works made with AI. The new guidance states that copyright will be determined on a case-by-case basis based on how the AI tool operates and how it was used to create the final piece or work. 

In further attempts to protect artists, UMG urged all streaming services to block access from AI services that might be using the music on their platforms to train their algorithms. UMG claims that “the training of generative AI using our artists’ music…represents both a breach of our agreements and a violation of copyright law… as well as the availability of infringing content created with generative AI on DSPs…” 

Moreover, the Entertainment Industry Coalition announced the Human Artistry Campaign, in hopes to ensure AI technologies are developed and used in ways that support, rather than replace, human culture and artistry. Along with the campaign, the group outlined principles advocating AI best practices, emphasizing respect for artists, their work, and their personas; transparency; and adherence to existing law including copyright and intellectual property. 

Regardless, numerous AI-generated covers have gone viral on social media including Beyoncé’s “Cuff It” featuring Rihanna’s vocals and the Plain White T’s’ “Hey There Delilah” featuring Kanye West’s vocals. More recently, the musician Grimes recently shared her support toward AI-generated music, tweeting that she would split 50% royalties on any successful AI-generated song that uses her voice. “Feel free to use my voice without penalty,” she tweeted, “I think it’s cool to be fused [with] a machine and I like the idea of open sourcing all art and killing copyright.”

As UMG states, it “begs the question as to which side of history all stakeholders in the music ecosystem want to be on: the side of artists, fans and human creative expression, or on the side of deep fakes, fraud and denying artists their due compensation.”

While the music industry and lawyers scramble to address concerns presented by generative AI, it is clear that “this is just the beginning” as @ghostwriter977 ominously noted under the original TikTok posting of the song.