musician

Taylor Swift is entering her trademark era.

The global pop star’s company, TAS Rights Management, filed three new trademark applications last week, per the U.S. Patent & Trademark Office. Two of the applications relate to soundbites of her voice, saying the phrases “Hey, it’s Taylor Swift” and “Hey, it’s Taylor.” The other is a well-known image of Swift, often representative of her recent Eras tour, featuring the 36-year-old onstage, holding her pink guitar and dressed in a shimmering bodysuit.

The push to lock down her public image comes at a time when many high-profile celebrities have called for regulations against unauthorized AI-generated content. Matthew McConaughey was one of the first Hollywood A-listers to leverage trademark law as an extra layer of protection.

In January, the “Interstellar” actor secured eight trademarks for his likeness, including images of him smiling and the iconic recording of him saying, “Alright, alright, alright,” from the 1993 movie “Dazed and Confused.”

“My team and I want to know that when my voice or likeness is ever used, it’s because I approved and signed off on it,” the actor told the Wall Street Journal in January. “We want to create a clear perimeter around ownership with consent and attribution the norm in an AI world.”

Registering a trademark for a celebrity’s speaking voice to defend against the prospect of AI-voice generation is a novel legal approach that has not yet been tested in court. Representatives for Swift did not respond to a request for comment on the intent of the recently filed trademarks. But Josh Gerben, one of the first attorneys to report Swift’s latest legal moves, said this is one of the growing gaps in intellectual property protection that AI can exploit.

Before AI infiltrated the internet, musicians, like Swift, would typically rely on copyright law to help prevent the unauthorized use and distribution of their music, while right to publicity laws would protect them from unlawful commercial use of their likeness. But with AI, users can manipulate people’s voices and images to sing or say practically anything.

So if McConaughey has a trademark on his voice saying a phrase, then theoretically any AI-generated voice that sounds similar to it could be considered a violation of that trademark, according to Gerben.

“If they have this trademark protection in place, then the [AI] platforms can’t use that same voice to create new content,” Gerben said. “Every celebrity would essentially have to go and do the same thing, but it’s trying to cut this off at the source as much as possible.”

Variety first reported news of Swift’s trademark filing.

As one of the most popular musicians, Swift has dealt with her share of unauthorized AI-generated content. She was previously one of the many female celebrities whose likeness was among several of Meta’s AI chatbot virtual celebrities. The illicit chatbots allegedly produced pornographic images. Before the 2024 presidential election, Donald Trump also shared AI-generated images of Swift falsely suggesting that she had endorsed him, including one of her dressed as Uncle Sam with the words, “Taylor wants you to vote for Donald Trump.”

Because Swift is such a recognizable public figure, Luke Arrigoni, the chief executive of Loti AI, a tech company that focuses on likeness protection, said trademark filings like these aren’t merely defensive but rather a setup for a long-term protective infrastructure.

“By locking down these trademarks now, she’s ensuring that if a brand wants to use a ‘Swift-like’ AI voice in 2027, they’ll have to go through her authorized gates or face federal trademark infringement,” Arrigoni said in a statement. “She’s essentially putting a price tag on her digital self, and that’s exactly where the entire talent industry needs to go to survive.”

Dave Mason, a founding member of the British psychedelic rock band Traffic who wrote some of their best-known songs including “Feelin’ Alright?” and “Hole in My Shoe,” has died. He was 79.

The singer and guitarist died Sunday at his home in Gardnerville, Nev., his publicist confirmed to the Associated Press. No cause of death was given.

“On Sunday, April 19, after cooking an amazing dinner with his beloved wife Winifred, [Mason] sat down to take a nap with sweet Star (the maltese) at his feet,” said a post shared Tuesday on the musician’s Instagram page. “He passed away peacefully, in his favorite chair, surrounded by the beautiful Carson Valley that he loved so much. A storybook ending. On his own terms. Which is how he lived his life right up until the end.”

“He leaves a lasting imprint on the soundtrack of our lives and the hearts he has lifted. His legacy will be cherished forever,” the tribute concluded.

Mason canceled his 2024 tour dates after doctors “detected a serious heart condition” during a routine check-up that required “immediate medical attention.” He was expected to make “a full and successful recovery” after treatments. He later announced his retirement from touring in 2025, citing “ongoing health challenges.”

Born May 10, 1946, in Worcester, England, Mason was a teenager when he joined singer and keyboardist-guitarist Steve Winwood, drummer Jim Capaldi and woodwind player Chris Wood to form Traffic in 1967. The band was known for its psychedelic sound that blended elements (and instruments) of rock, blues, R&B and jazz.

Mason was inducted into the Rock & Roll Hall of Fame in 2004 for his work with Traffic, but the musician had a fraught history with the group.

“We did some good stuff,” Mason told The Times in 1995. “We were young kids. The first song I wrote was their first big hit in England (‘Hole in My Shoe’). But I was only 19 years old and couldn’t handle all the fame, really. It was just too much.”

He explained that after he left the band the first time, he was asked to come back because “they didn’t have enough songs for a second album,” while he had written “five or six” including “Feelin’ Alright?” The song, now considered a classic rock staple, has been covered by multiple artists including Joe Cocker, Huey Lewis, the Jackson 5, Gladys Knight & the Pips and Grand Funk Railroad.

“Then I found out that Steve [Winwood] didn’t really care for my stuff,” Mason said. “From my point of view, I think [our] differences made something better. … But it just pulled too much I suppose, and they couldn’t work it. I was more or less forced into having to leave.”

Mason’s subsequent solo career included three gold albums: his 1970 debut “Alone Together” — which featured hits like “Only You Know and I Know,” “Shouldn’t Have Took More Than You Gave” and “World in Changes;” 1974’s “Dave Mason” and 1978’s “Mariposa de Oro.” His 1977 album “Let It Flow” was certified platinum.

He also collaborated with other notable acts such as Eric Clapton, George Harrison, Jimi Hendrix, the Rolling Stones, Delaney & Bonnie and Friends, Joe Cocker’s Mad Dogs & Englishmen, and Fleetwood Mac.

Winwood shared a tribute to his bandmate on Wednesday on Instagram.

“Dave was part of Traffic during its earliest chapter, and played an important role in shaping the band’s sound and identity during that time,” said the caption accompanying a photo of a young Mason. “His songwriting, musicianship and distinctive spirit helped create music that has lasted far beyond its era, and continues to mean so much to listeners around the world.”

“Those years remain a special part of the band’s story, and Dave’s contribution to them is not forgotten,” Winwood continued. “His place in that history will always be remembered, and through the music, his presence endures.”

Mason is survived by his wife, Winifred Wilson, daughter Danielle, nephew John Leonard, niece Michelle Leonard and his brothers-in-law, Sloan Wilson and Walton Wilson.