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\n\tThe American Federation of Musicians<\/a> (AFM<\/a>)\u00a0\u2014 the largest musicians union<\/a> in the U.S. that covers over 80,000 professional artists \u2014 is asking the nation\u2019s major labels to give them contract safeguards as AI<\/a> technology continues to develop.\u00a0<\/p>\n \n\tOn Tuesday, the AFM launched \u201cHuman Made, Human Paid,\u201d an advocacy campaign to raise awareness to the AFM\u2019s demands. In November, the group will restart negotiations on the Sound Recording Labor Agreement (SRLA<\/a>), a written union contract that sets things like royalty rates and healthcare agreements. They are asking Universal Music<\/a> Group, Sony, Warner, and Hollywood Records (Disney) for new rules giving musicians the right to approve or refuse to let their music be used to train AI models, transparent credit, and payment for both AI use and label licensing deals.\u00a0<\/p>\n \n\t\u201cThe record labels cannot pocket profits built on the backs of human artistry while cutting working musicians out of the equation. Human Made, Human Paid is about consent, credit, and compensation,\u201d AFM International President Tino Gagliardi tells Rolling Stone<\/em> in a statement. \u201cThe AFM will not stand by and allow tech deals to bypass the very artists who made those music catalogs valuable in the first place.\u201d\u00a0<\/p>\n \n\tIn a March report, industry experts told<\/a> Rolling Stone <\/em>that \u201cthe train has left the station\u201d in regards to AI use in music production and that tech developments represent a \u201cprofound shift\u201d in the way artists will make music going forward. AI\u2019s shakeup of the music production landscape is a controversial one. But because there\u2019s no set rules, boundaries, or compensation schemes around AI, artists say record labels are making millions licensing their catalogs<\/a> and artists aren\u2019t being cut in on the deal \u2014 even though it\u2019s their work making the money.\u00a0<\/p>\n \n\tWill Wells, an AFM member, composer, and producer who\u2019s worked with Anthony Ramos, Cynthia Erivo, and the hit Netflix series Emily In Paris<\/em>, tells Rolling Stone <\/em>that the music industry thrives on its respect of intellectual property. \u201cIf I\u2019ve witnessed anything in my group of colleagues, be it fellow union members or the broader music community, the idea that theft of intellectual property would be tolerated is chilling,\u201d Wells says. \u201cThat idea that we don\u2019t have a say in how our music is exploited is chilling. I think that\u2019s what gives so many people unrest.\u201d\u00a0<\/p>\n