When we finally realized the capabilities of artificial intelligence (AI), many imagined that we would find ourselves caught in the act of faking the voice and image of famous artists. From what we have been able to see so far, this does not happen, but it seems to be just the origin of many songs with obscene content, attributed to invented singers (yes, they are usually female singers).
It turns out that replacing well-known artists with powerful lawyers carries obvious risks. The world’s advertisers have already realized that imitating Tom Waits can be dangerous. Possessing a wild, recognizable sound, Waits has struggled for years against imitation. So, in 1990, the makers of Doritos wanted to use it in an advertising campaign. After his rejection, the agency hired a spoof. Waits didn’t accept that game: He wanted to bite the octopus on the ultimate charge (Frito-Lay, part of the PepsiCo empire). The matter moved to the US Supreme Court, where the singer from Pomona obtained compensation worth more than two million dollars.
We must ask ourselves the obvious: What devils did these “creatives” think that they would assume that the beatnik sound was as exotic as Waits would help sell tapas. Better yet, Coleria Frito-Lay said: “We’re giants snacks We do what we do.” We’ve seen some precedent that suggests caution: In the past eight years, singer Bette Midler has attacked Ford Motor Company for advertising a knock-off bus that reproduces SoYo’s hit from 1972, Do you want to dance?. It caused damage and losses amounting to $400,000.
The topic takes us to the difficult question of musical identity. Then we came across the perfect case of John Fogerty. The man from Creedence Clearwater was on a dogfight with Fantasy Records, the record company that popularized the band’s massive successes. Saul Zaantz, the company’s founder, responded by suing Fogerty, arguing that his issue… Old man on the road (1984) Stolen Run through the forest (1970), the subject of faith whose editorial rights control the imagination. A popular juror revealed the indictment for the disc. After that, Fogerty recovered from the litigation. It’s a good fight: Life becomes a difficult time for all types of artists, who instinctively tend to build on their mistakes.
In the United States, the issue has turned to protecting the moral integrity of artists. Big corporations can think they can do anything: Coca-Cola used the echo of Johnny Cash to put the spotlight on many Americans. The translator’s heirs I’m walking the line Your incompatibility has been achieved. To be sure, they cite the Elvis Act (in his official initials, Guarantee of Sound Similarity and Image Security), where Tennessee lawmakers wanted to protect the legacy of his most universal son, Elvis Presley.
Olveden about “moral integrity” and other flourishing concepts. Finally, these conflicts revolve around money. Money from which (1) advertisers intend to make a profit, and of course money that (2) seeks out the descendants of great figures, claiming that they were victims of notorious contracts. You’re definitely sure.