In short
Two-part episode. First, a report on the New York Times v. OpenAI/Microsoft copyright case, arguing that LLMs are “killing the web” by scraping paywalled news and siphoning clicks away from publishers. Key claims include internal Microsoft language about “an astonishing theft of unprecedented proportions” and a “doom loop” harming both model performance and the entire web; OpenAI/Microsoft executives admitting LLMs compete with journalism and that users won’t click links even when shown.
Notable examples
Microsoft study claiming news clicks dropped “by more than 90%” after AI search results; internal OpenAI chats about a “hack” to bypass NYT paywalls; Jack Clark calling systems substitutes for cultural labor. Second, a practical demo: exploiting Spotify distribution via DistroKid to upload AI music onto a real band’s Spotify page. Notable example: “Layth of Heaven” (real band) had an AI track published to their Spotify listing after minimal verification.
Guests
Sam Cole, Emmanuel Mayberg, Jason Cabeler, plus host Joseph (co-founders). No external music or legal guests are interviewed on-mic; the “Layth of Heaven” band is discussed via off-mic contact (drummer/lead vocalist and their label).
Written by AI. May contain mistakes. Listen to the episode to check what was said.
Chapters
Tap a time to open that second in VOImpact of AI on News Traffic
0:03 to 0:26
Exploring how AI integration led to significant declines in news site traffic.
“The new PayPal app is like that, but for your money.”
Impact of AI on News Traffic
0:29 to 3:16
Exploring how AI integration led to significant declines in news site traffic.
“clicks to news sites and the New York Times fell by more than 90%.”
The Legal Battle: OpenAI vs. New York Times
3:17 to 7:48
Diving into the lawsuit involving OpenAI, Microsoft, and the New York Times.
“The first one by Jason is, quote, doom loop, end quote.”
The Doom Loop of AI Content Strategy
7:49 to 14:00
Discussing the implications of Microsoft's internal document on AI's impact on content supply.
“But then the court went and unsealed this entire document, the unredacted version.”
The Economic Threat of AI to Content Creators
14:00 to 17:01
Explore how AI models threaten the employment of content creators and the quality of information online.
“It is highly unusual that an end product threatens the economic foundations of its essential suppliers.”
Copyright Lawsuits and AI Companies
17:01 to 19:58
Discuss the implications of copyright lawsuits against AI companies and potential outcomes.
“So, I mean, listeners and viewers of this podcast probably kind of already know all of this, right?”
Upcoming AI-Inspired Movies
19:58 to 21:27
Get insights on upcoming movies related to AI and their potential storylines.
“One of the comments on this piece was like, it's so crazy that we watched kids who use Napster and pirated MP3s had the book thrown at them.”
Upcoming AI-Inspired Movies
24:29 to 25:44
Get insights on upcoming movies related to AI and their potential storylines.
“Please support our show and tell them that 404 Media sent you.”
Hijacking a Spotify Page with AI Music
26:06 to 28:01
An exploration of how AI can be used to create music and the implications of such actions.
“Emmanuel wrote this one, but I have a question for Sam as well.”
Exploring AI Music Generation
28:01 to 29:09
Discusses the concept of AI-generated music and its implications for artists.
“But I feel like for reporting and journalistic purposes, I should probably mess around with a bit of AI music generation.”
Show all 14 chapters
The Scam of AI Music Distribution
29:10 to 30:24
Introduces the issues surrounding AI-generated music and its distribution on platforms.
“But to ask you, Sam, who is this band that we ended up talking to and that sort of thing?”
Understanding Digital Music Distribution Loopholes
30:25 to 35:36
Explains how digital music distributors enable scammers to exploit artist pages.
“So this is a scam that has existed for many years.”
Testing the Distribution System
35:37 to 42:01
Details the process of creating a DistroKid account and the immediate consequences.
“And explain to us how you were in conversation with the band essentially around the same time.”
Challenges in Digital Music Distribution
42:01 to 44:48
Explore the difficulties musicians face in digital music distribution and the responsibility of platforms.
“This is not to excuse it, but when you upload a song via DistroKid, it says it's going to take five to eight business days for the song to get up to all these platforms.”
Transcript
Automatic transcript. May contain errors.0:00Emanuel:This episode is brought to you by PayPal. You know how a mom's bag has everything? Sunscreen? Snacks? A stapler? The new PayPal app is like that, but for your money. Shop, pay, manage your account, and earn rewards all in one place. And with purchase protection on eligible items, biometric security, and pass keys, you're protected at every step. Download the new PayPal app to get started. See paypal.com slash protection terms. Microsoft did this study that after they started adding AI to their search results, clicks to news sites and the New York Times fell by more than 90%.
0:58As well as bonus content every single week, subscribers also get access to additional episodes where we respond to their best comments. Gain access to that content at 404media.co. Also do remember to subscribe to our YouTube channel where you can watch all of our episodes of all of our fancy graphics, including this one. Subscribe at youtube.com slash at 404media.co. I'm your host Joseph and with me are all of the other 404 Media co-founders, the first being Sam Cole. hey emmanuel mayberg hello and jason cabler hey what's up all right so before we get to the stories a tiny bit of housekeeping something of a request i will put a link to this in the show notes but as i'm sure listeners and readers will know we've obviously been covering flock a lot and a lot of this is through public records requests to sheriff's departments, police departments, cities, all of that sort of thing.
1:59And we ask them to provide the network audits of Flock. And this shows, wow, this cop is using the Flock system to look up, you know, license plate for this reason. It might be, hey, I'm looking up for ICE. I'm looking up to find a woman who self-administered an abortion or anything like that. Now we are doing much the same thing with Axon, the law enforcement contracting giant. This is because a bunch of cities are ditching Flock and they're just replacing the cameras with Axon ones like we covered a while ago. What we're asking our listeners and readers to do, if they're interested and if they want to sort of be engaged in their own community on this is file a very specific public records request with their local agency if they use Axon obviously to get back basically the Axon equivalent of the network audit go to link in the show notes you will see a copy of the request there and hey if you're interested file it find out how license plate reading cameras are being used in your community and if you do find anything interesting please feel free to send it to us or email it to me or Jason or whoever, and then we'll look into it.
3:12All right, let's get on this week's stories. The first one by Jason is, quote, doom loop, end quote. Open AI and Microsoft admits LLMs are destroying the web and built on theft. This isn't in the headline. Oh my God, he admitted it. Obviously, I had to say that. Let me read the quotes just at the top. There's a couple of them and then we'll drill into where this comes from and everything. But you say in the lead that these companies are omitting that LLMs are based on, quote, an astonishing theft of unprecedented proportions, the largest theft of labor in human history. And there's an internal document that we'll get into as well that says AI products have created a doom loop that is killing the entire web.
4:03Jason, first of all, where do these comments come from exactly?
4:07Emanuel:Yeah, so all of this comes from the New York Times versus OpenAI and Microsoft lawsuit, which we've talked about before, but has been at least a year, probably. This is a huge, huge copyright lawsuit. Of the copyright lawsuits against AI companies, I would say this is probably the biggest one. And I think the reason for that is because the New York Times is like big mad about it. Like it's been now multiple years in litigation. The accusation is essentially that OpenAI scraped the New York Times website by ignoring its robots.txt. So ignoring its wishes, going around its paywall, and then ChatGPT for a long time was directly reproducing New York Times articles, more or less, in some cases, whole cloth.
5:05Emanuel:And then in other cases, it would be like 85 % of the article would be the same and there would be like some different words in there. But for the most part, it was the same. And so this lawsuit has expanded out to include Microsoft, which obviously is a huge funder of OpenAI. They have that special partnership. And so this case has been winding its way through the court for like years at this point. And both sides have now filed for summary judgment, which is essentially where their lawyers take all of the evidence that has come out during discovery, which is when the court lets opposing attorneys look at all these internal documents.
5:47Emanuel:They let them depose important people at both sides. So basically, all of these OpenAI and Microsoft executives have been interviewed by the opposing counsels. And the summary judgment filing is based... It's kind of like a closing argument document, more or less, where the lawyers on both sides are like, judge, here's what you should rule and why. And so this is like, I think it's like a 40-page document. And it's a summary judgment filing by the New York Times' lawyers. Yeah, and it's interesting because we don't get to see those depositions, right? Like we can't see the recordings of those themselves.
6:25We can't see these internal Microsoft documents because they are part of discovery, right? But what we can see is that the New York Times lawyers have found a way or able to do it in such a way where they can summarize sort of the evidence that they've been able to access and gather and then put it in a public court record, right? And then we can digest it. So what we're talking about here is sort of that summary of it. We don't have the internal Microsoft documents or the open AI sort of depositions or anything. But, you know, there's no reason to doubt sort of whether this is real or not. It's in an official court record.
7:03Emanuel:That's a really good point. So just before we get into what was said, a lot of this case has been filed under seal, meaning you can see who was deposed, but you can't actually see what they were saying because basically Microsoft and OpenAI were arguing that these were trade secrets and things that needed to remain confidential. And interestingly, this summary judgment was filed and then it too was under seal and then a redacted version was released where huge parts of it were redacted at the request of Microsoft and OpenAI's lawyers. So big black boxes over the text. And that came out like two weeks ago.
7:47Emanuel:And that document was interesting. But then the court went and unsealed this entire document, the unredacted version. And so we can see quotes from these depositions. We can see quotes from these documents that came out in discovery that the lawyers chose to quote from. But we can't see the underlying source. And this is actually somewhat unusual. It's like usually discovery documents you can obtain unless there's a compelling reason to keep them sealed. And in this case, that reason was basically like Microsoft and OpenAI saying that this is confidential information. And so it is notable that even parts of this have become unsealed.
8:31Emanuel:And as you said, it's like, there's no reason to doubt these because they're all in the court record. And they're all cited, as in like the lawyer says like, oh, you can go find this in the docket, but those documents are sealed. And so the court has access to them, but we do not. So there's a few things that this document pulls from. And one is an internal Microsoft document where I believe Microsoft executives discuss this idea of unprecedented theft. What did they say specifically about the theft stuff? Yeah, so they say this in a couple different places. There's this quote, basically like the training of LLMs is, quote, an astonishing theft of unprecedented proportions.
9:17Emanuel:And they also said that it's the largest theft of labor in human history. This quote came from Microsoft's director of applied science, who is basically like a Microsoft executive that came from a deposition. and kind of like throughout the case or throughout these quotes, the executives at these AI companies are admitting that one, they were trained on copyrighted material, which we've known forever, but it's still notable that they are kind of saying it in court. And then the other thing that they're saying is that this is a competitive product with the New York Times and with journalists in general.
9:56Emanuel:They're trying to make a fair use argument and the fair use argument, And some of the things that you consider when something is potentially fair use under copyright law is whether it's transformative, meaning whether it's substantially different from the original source, which these AI companies have argued that LLM training is. and then also whether it competes with that original source, like whether it destroys the market for that original thing that you're stealing or taking or using or remixing. And what these executives are saying is that, yes, ChatGPT and LLMs and AI in general is making work that is substantially similar to what the New York Times is doing, that people are using ChatGPT in a way that they used to use the New York Times, meaning they're getting their news from it.
10:50Emanuel:And then interestingly, there's a ChatGPT engineer in here saying that they have tried adding links to the output from ChatGPT and people don't click. People don't go to the original source. Satya Nadella was in here. The CEO of Microsoft was in here saying that it's a competitive product. And also Microsoft did this study that after they started adding AI to their search results, clicks to news sites and the New York Times fell by more than 90%. So I mean, just like a huge, huge decrease. And all this aligns with what we've seen in real life. News sites are not getting clicks from Google anymore because of AI overviews like that.
11:34Emanuel:Traffic has cratered, so on and so forth. As you alluded to, it's different to hear them say it. And of course, this isn't a deposition of Google, but the same would apply most likely to Google AI summaries as well. And we've seen other reporting on that as well. So they definitely know that they are sabotaging the news industry, which ironically is the thing that they are pulling all the reporting from to then present to their own users, right? I guess just on that briefly, because you brought up sort of the media stuff, there's a bit where open AI admits to getting around the New York Times paywall.
12:15Now, I don't think this is probably going to be the most sophisticated thing in the world. I think anybody on the internet probably knows how to get around certain paywalls and that sort of thing. But what did they say and what is the significance of that?
12:29Emanuel:Yeah, they didn't explain how they did it. I mean, it would have theoretically been possible just to make a bunch of accounts, to buy a handful of subscriptions. Obviously, there's various ways to get around paywalls in general. But it basically quotes these OpenAI internal chats where someone at the company told OpenAI co-founder Greg Brockman that they had created, quote, a hack to get around New York Times paywall. And then Greg Brockman said, oh, nice. Um, so it's just like evidence in there that they knew that they were doing something wrong. There's also parts in this document that I didn't quote from where Satya Nadella was like, I would have hoped that we would have understood that scraping from paywalled content is like not a good thing.
13:20Emanuel:I didn't include that quote because there was like a lot of context to kind of explain how he was saying that. But basically, there was various executives being like, Like, hmm, maybe we shouldn't have taken that paywalled content. I mean, the document that I thought was most interesting, and which we've kind of mentioned, but haven't gotten into what it is, is this one that's in the headline about Doomloop. It is an internal Microsoft document that basically assesses what LLMs are doing to the industry and specifically what their strategy is doing. And so the quote is, quote, our AI content strategy has started a doom loop that will hurt the performance of our models and the entire web at the same time.
14:10Emanuel:It is highly unusual that an end product threatens the economic foundations of its essential suppliers. But that is the situation we have created for our LLM business with respect to its content supply chain. It's basically like they're saying, we are making something that is siphoning from another thing, these suppliers, these people who write articles and publish articles and books and art and all that. And what we're doing is destroying that. And there's an OpenAI document that also kind of touches on this from their policy director, Jack Clark, where he said that the company was, quote, creating systems that substitute for the labor of the people who define the culture of society.
14:54Emanuel:And then Microsoft says that it could significantly disrupt the employment of the very people who generate the data on which the foundation model was trained. LLMs are a product that destroys its supply chain. OpenAI called itself an existential threat to news publishers and an OpenAI software engineer testified that no matter how prominently we show the links, users won't click. Is there a date for those? There's not a date. I mean, a lot of this stuff was happening around GPT-3. GPT-3 was many, at this point, generations ago. But that's kind of the moment that ChatGPT became a thing and where it had this amazing growth and people started using it.
15:35And then the depositions have taken place over the last year.
15:40Emanuel:So a lot of this was said within the last year, but then a lot of the court case has to do with the initial training of these models years ago. But this nods at the idea of model collapse or the idea that you destroy all the journalists, you destroy all the writers, you destroy all the human labor, than you just have AI training on AI or AI training on really low quality stuff. And that hasn't happened yet, but it sort of is. As in, if you go search for stuff on ChatGPT or on some like Gemini, etc., a lot of high quality websites won't provide information to those models. And so you end up with really shitty content and shitty low-quality websites being cited in these models.
16:35Emanuel:And that's part of the whole generative engine optimization game where it's like, we'll just create our own websites that will then be cited by AI and so on and so forth. And it's like, that is definitely starting to happen. The entire collapse of the system isn't happening, although there's all these papers about how it might and how in more controlled situations it is, that sort of thing. but it's pretty bleak. Yeah. So, I mean, listeners and viewers of this podcast probably kind of already know all of this, right? And we obviously know it and other people in the media industry do, other people who just follow AI.
17:14None of these are new ideas to them. But it is obviously significant that we're hearing this from Microsoft and OpenAI people. Just to round us out, why do you think it is significant that we're now learning that they actually, they had internalized a lot of these criticisms as well. It's only now that we're learning them, even though they tried to not have it come out.
17:37Emanuel:I mean, I think at this point, these companies, there's too much riding on them economically for the entire country. Like the entire US economy is being propped up by them right now, bubble or not. Like that is where all the growth is happening. That's where all the excitement is. That's where all the attention is. And so I don't know what a fair and just outcome of a lawsuit like this would be. But I think that there is... One, it's like a lot of the other copyright lawsuits, even when they found fault from the AI companies, like the authors sued Anthropic, that case was settled. It's like a bunch of authors, like a handful of authors got a bunch of money.
18:26Emanuel:Anthropic got a slap on the wrist, paid a bunch of money and moved on with its life. And a lot of the entities that have been suing these companies, I could be wrong, but a lot of them are like individual authors, individual artists, like people who are not, don't have the ability to take a court case to its conclusion because lawyers are really, really expensive. And it's like, this court docket is like thousands and thousands of documents long. So it's like millions and millions of dollars are being spent fighting this case. And I think that the outcome in a lot of these other ones has been like a slap on the wrist and a settlement at most.
19:10Emanuel:Whereas this is a really big entity. The New York Times is a big company. It's not as big as a tech giant, but it is billions of dollars company. that's fighting very hard in this case. And so I think the idea that copyright law is going to save us here or is going to kill these companies is kind of delusional at this point. But there could be a pretty strong outcome here. There could be... I don't know what it is. I'm not sure if it's just the New York Times gets a lot of money or if there's actual consequences for Microsoft and OpenAI. But I do think it's important that this is adjudicated in the court system and that someone say what they did was wrong.
19:58Emanuel:One of the comments on this piece was like, it's so crazy that we watched kids who use Napster and pirated MP3s had the book thrown at them. And then here you just have these companies admitting to huge, huge, huge theft from other really big companies and nothing is happening. And we've seen that with Disney doing lawsuits and stuff like this. It's like they always end up striking some sort of partnership because these big companies are like, oh, well, maybe AI can help us also. Maybe we should get in on this versus actually trying to hold these companies that stole our shit accountable. And I just hope that...
20:39Emanuel:Hope against hope that there's some nod to like, this was fucked up. This was wrong, what they did. and I guess we'll see. I don't know. It's going to make the world's most boring movie at some point where it's just like Sam Allman being like, yeah, scrape it. Scrape it. Download it. It's coming out. They're making it. It's almost out. The movie. Didn't it get killed or moved? No, no, no. Artificial. It's almost out. Thrilling. Did you know the Social Network sequel is coming out next week? I thought that this was coming out years from now. They really sped through that. They fast-tracked it. Yeah.
21:20Yeah, 100%. Yeah. I didn't know it was that soon, though, but I'm sure I'll watch that. All right. We'll leave that there. When we come back after the break, we're going to talk about, you know, a massive hole in how music is digitally distributed and how Emanuel was able to use that to essentially hijack a band's Spotify page. We'll be right back after this.
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22:27Emanuel:That's nordlayerbrowser.com slash browser slash 404podcast and use the coupon code 404podcast10 at checkout. NordLayer.com slash browser slash 404 podcast. I've reached the point in my traveling days where I refuse to travel with a bag full of charging cables. Got phone cables, headphone cables, watch charger, USB-C cables. And somehow, despite packing all of them, honestly, the number of times that I bought a new cable at the airport, I'm very embarrassed to talk about. That's why I've been kind of obsessed with this thing from Ridge. Ridge. This is Ridge's 5-in-1 Travel Power Bank. I have it in the Neon Tiger colorway, which is pretty awesome.
23:11Emanuel:It's the Ridge's 5-in-1 Travel Power Bank. And the genius of it is that it's got all the cables and chargers you need already built in. It's got MagSafe compatible wireless charging, an Apple Watch charger, Lightning, and USB-C all-in-one device. So instead of finding three outlets at the airport and turning my backpack into a cable drawer, I just grabbed this one power bank. It's got 20 watts of power and a 10 ,000 milliamp hour capacity, giving you up to three full phone charges. There's even an integrated kickstand so you can prop up your phone while you're charging it and use it. I've been traveling a lot lately.
23:47Emanuel:And honestly, before this thing, my bag looked like a bird's nest, like just cables everywhere. It was a nightmare. Now I've got this. It solves a huge annoyance for me that I had basically accepted as part of traveling, and now I don't want to go back. And like everything Ridge makes, it's built to last. You get free shipping, a 99-day risk-free trial, and a lifetime warranty. This might genuinely be the last power bank you ever need. One thing to pack, five ways to power. You can find Ridge's power bank at Best Buy, or our listeners can get 10 % off at ridge.com by using code 404media at checkout.
24:24Emanuel:Just head to ridge.com and use code 404media and you're all set. After you purchase, they'll ask you where you heard about them. Please support our show and tell them that 404 Media sent you. So for fun, and it wasn't actually fun, I googled myself last week and found my home address, my phone number, and a relative I'm fairly sure that I've never met, all on directory sites I never signed up for. That's the data broker economy for you. They scrape your info, package you up like a trading card, and sell you off to whoever's paying, which is exactly how identity thieves go shopping. Bad look when your entire job is not getting doxxed.
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26:05All right, and we are back. Emmanuel wrote this one, but I have a question for Sam as well. The headline is, I hijacked a real artist's Spotify with AI music. It was disturbingly easy. So I think let's just do this chronologically because it's like a little bit complicated. So first, you made an AI track, Emmanuel, like a piece of AI music. Let's play a little bit of that now.
26:55So how did you make that exactly, Emmanuel? I went to Udio.
Read the full transcript
27:01Emanuel:Udio? Udio? I would call it Udio. I thought it was Suno. Is this another one? Yeah, yeah. The two big ones are Udio and Suno. And this one's Udio. And I typed in generate a punk song with male vocalists and the result is the beautiful thing you heard. Did you like it? No, no. I hated it. I mean, did you like it? The famous sort of co-founder of Thoughtful Media who just doesn't engage with music. I mean, what did you think of it? I thought it was awful. It's very, very bad. I think sometimes... I remember early on when I was testing ChatGPT, I would tell it to generate short stories in the style of famous authors.
27:49Emanuel:And I was like, damn, this is like, it's nailing the voice. You know what I mean? It's not necessarily good. But AI music, I found really like nails on the chalkboard. I've never heard anything good that's AI generated. A song that's AI generated. I've resisted it. But I feel like for reporting and journalistic purposes, I should probably mess around with a bit of AI music generation. and like just so I can understand what an effective prompt looks like and can you actually get it close to something and like I really don't want to as I said resisted it but I probably should but you so you type that in the music is generated I presume in 30 seconds or a minute or something like that you then make a little piece of album art which will go with your release how do you do that?
28:32Emanuel:I went to ChatGPT and I said, generate a punk album cover for a single called Writing High, which was the name that Udio gave the track. Okay. You didn't come up with that. It came on the track as well. Okay. So you've made some AI music. You have an album cover. And now you want to get it out there. But you are nobody when it comes to me. When it comes to music, so you need to piggyback off someone else's distribution channel. And we'll sort of get to the scam in a bit. But to ask you, Sam, who is this band that we ended up talking to and that sort of thing? Because I think you knew this band, right?
29:23Emanuel:I mean, I'm not super close personal friends with the current members. I knew their former drummer, Stephen Reeder. I knew him just casually. So I was like, I think maybe he'll have chill opinions about this and probably the band's a metal band. So like they'll probably, they're super local Brooklyn. Maybe they'll have some like strong opinions about AI and the theft of their work and things like that. Or like the theft of big artists work across the industry as a small indie act. So yeah, I mean, they're not that small. They're popular in the scene, but yeah, they're cool. Check out Layth of Heaven.
29:57Emanuel:Stream the real Layth of Heaven on Spotify. yeah crucially the real one so you then wanted to test this hole in distribution which is allowing spammers and scammers to post ai generated music to real bands spotify pages i mean i i guess now actually i was going to do this later but just imagine just explain the scam of what these people do? They push music onto real band Spotify pages. For what purpose? Well, what's the point of that? Right. So this is a scam that has existed for many years. It predates generative AI. The scam takes advantage of a giant loophole in the digital music distribution system.
30:47Emanuel:So I can go to Spotify and I can make a page there and I can publish my music or podcast or whatever directly by interfacing with Spotify. If I am a musician who is trying to distribute my music far and wide and basically any serious musician wants to do that, all the way from the most famous people in the world like Taylor Swift and Latham Heaven, right, who is like a much smaller punk band, you can't, or it's very impractical to go to Spotify, make a page, publish your song there. Go to Tidal, make a page, publish your song there. Go to Amazon Music, make a page, publish your song there. It's too many platforms and you have to kind of manage your catalog of albums and tracks across all of those.
31:43Emanuel:And whenever you have to make a change or whatever, You would have to do it dozens of times across all these channels. Enter a new type of service called digital music distributors. And they basically manage all of this work for you. So a popular one of these companies is DistroKid, which is the one I ended up testing. You go to DistroKid, you make an account there, you give them your information, you upload your tracks there and they push it out across all of these platforms i think overall they can they can do 22 of them right so apple one song it goes to 22 of them and the idea of the scam is not only does distro kit allow you to push your music out it also collects collects your royalties right so spotify title all these music streaming services the business model is you put your music there and they give you you know sense for every uh time somebody listens to the track notoriously like a very very very not sustainable amount for like the vast majority of artists but they will collect it like all all your all your streams on title all your streams on Spotify, all your stream on Amazon Music, all your streams on Apple, and just pull them into one account on Distrokid, which then you can withdraw from, much like OnlyFans, for example, has an OnlyFans account that holds your money that you can then withdraw from.
33:23Emanuel:And if you manage to get your music or any track onto a famous artist's Spotify page via DistroKid, anytime somebody plays that, the money will go to you, not to them. Yeah. Right? So that's basically... That's the idea of the scam. You're piggybacking on the popularity of a different artist. Somebody who is a fan of Lathes of Heaven will go and see, they have a new track. They click play. By the time they realize that it's AI-generated slop, I already collected those pennies. And if that happens enough times, I get a small amount of money yeah it's a spam and scam distribution vehicle in that i have my ai generator music and stuff but i need to essentially trick people into listening to it and one way to do that is to push your slop to somebody else's spotify page and we won't really get into this here but like it's mentioned in the article enough coverage you've did you you've done but some scammers are doing this to dead musicians and stuff.
34:33And some scammers presenting their AI-generated music as coming from a white band or a white person and then pulling it on Charlie Parker's Spotify page or whatever, who is an infamous... Jazz musician, black jazz musician. Yeah, who I've been listening to a lot more recently. So that's a scam, right? And the reason you want to test this is because in a similar sort of way of, I don't know, I paid, or rather a hacker source of mine, he paid$10 or whatever to intercept all of my text messages to show this gaping hole in telecommunications infrastructure. That was several years ago now, back at Muffin Board.
35:14You're kind of demonstrating how easy it is to exploit this gaping hole in music digital distribution. So you have this track. You have the album art. You then make an account on DistroKid, right? What is the verification process there? And explain to us how you were in conversation with the band essentially around the same time. What happens now when you have the track?
35:46Emanuel:Yeah. Let me just back up a bit to why did I do this. Yeah. And like you said, this really came across my desk when I reported a story about this musician, Blaise Foley, who was murdered in 1989 and is a beloved musician who gained a lot of popularity after his death. and the person who manages his catalog on like behalf of his estate saw that there was AI generated music on his page and he didn't understand why and I kind of wrote about that because that was really wild and ever since then I learned that this is a thing that is pretty common for a type of artist. So you're not going to see this on Taylor Swift's Spotify page, most likely.
36:44Emanuel:You're not going to see it on the pages of extremely popular musicians. My theory is that they are huge targets and have their Spotify pages and title pages actively monitored by staff at their record labels because this has happened to them so much. So it happens to artists who have been dead for many years, like a lot of these jazz musicians from the 1920s and 1930s. And it happens to small bands that... Lave of Heaven, they have a record label, but that record label is very small. They have like four people they work with. And they're working with a ton of other bands. They're not checking title every day to see if somebody uploaded a song.
37:30Emanuel:And it was so common. I've been getting so many emails like, Hey, my favorite band. It happened to them. I'm a musician and it's happened to me. I love old jazz. And I'm seeing it all the time. And I got this email from this musical duo out of Mexico City called Odette Child. and they just on their own accord because they saw it happening on music platforms and because they're such big fans of these musicians they collected more than 300 examples of this happening and i was like okay like how is it possible how is this like very egregious you know scam that's like super disrespectful to all these musicians that musicians said how is it possible And I kind of been thinking about it for a few weeks.
38:21Emanuel:And eventually, I actually talked to you, Joe. And I was like, let me just try and do it to see how difficult it is to do it. That's kind of what set me out on the journey. So you make this account now. So now you've decided I'm going to demonstrate this. And you make the DistroKid account and walk us through that. And then your conversations with the band around that time. Right. So I heard DistroKid is one company that allows this to happen. There are others, but this is just a name that has come up a few times. So I decided to try it there. And I create an account. It costs a little bit more than$3 a month to use DistroKid's services.
39:08Emanuel:and I just upload the song and I tell them that I am Lathe of Heaven. And when I put in that name, it kind of automatically finds an existing listing for Lathe of Heaven in their system. And they ask like, is this you? And I say, yeah, it's me. And they're like, okay, cool. And then you have to check a box where you're like, do you promise that it's you and you're not pretending to be them. And I'm like, yep. And that's basically it. That's the verification. So I create the account. I upload the song. And at the same time, I email Ladies of Heaven. I'm like, hey, I'm trying to do this thing. You might see a thing pop up.
39:51Emanuel:I just wanted to talk to you about it. And we exchanged one email. I believe it was with the drummer. But by the time I talked to the lead vocalist, got him on the phone, the song was already published and we talked about it they were horrified they were very polite and they they thanked me for like letting me know that this is a thing that can happen and they had a lot of very good input about what this means for musicians and and so on and then I talked to the record label and the record label was like they were like haha like thank you for letting us know but like please get this off our page immediately and i did obviously which to be clear you were going to do anyway yeah yeah yeah yeah they were just also like please take it down yeah i wanted to i just want and i asked him initially when i when i emailed the when i talked to the to the lead the singer on the phone i was like you want me to remove this and he was like let me talk to the record label and then i heard from because i didn't know if they wanted me to remove it or if they wanted to remove it if there was some reason that they wanted but yeah once they asked me of course i did it immediately yeah it's funny because like you're uploading it and like doing the preliminary steps to get it up and then you're also talking to the band but because this like loophole is so large it like almost goes up at the same time and it's like whoa i was gonna i was gonna like talk to these guys and it's all happening at once sort of thing And that's how insane this loophole is.
41:26Emanuel:Yeah, it was shocking, to be honest. And I've heard some people rightfully note that we should have gotten consent before we uploaded the song. And I agree. And that was my intention. I did not know that the song would go up immediately with basically zero verification of any kind, that there was nobody on the other end that has to check a box and then say, yes, this is our song. You can let it onto the Spotify. It just went up. They also... Whatever. This is not to excuse it, but when you upload a song via DistroKid, it says it's going to take five to eight business days for the song to get up to all these platforms.
42:18Emanuel:And they said it might happen on Apple within two to three days. But it went up within 24 hours. I just thought there would be more time and there wasn't. Yeah, yeah, that makes sense. So I think just to round it out, who is responsible here for mitigating or stopping this issue? Is it DistroKid? Is it Spotify? Apple Music? Because it's not the musicians. They're just trying to fucking do their thing. Who is responsible here? I don't know. I don't know how to point fingers. It seems to me that there has to be a better way. This is not quite as sensitive as you setting up a bank account and trying to transfer it to another bank.
43:08Emanuel:But when you do something like that, there has to be a handshake. You have to go into your Capital One account and put in your password and say, this is me and I want to move money. And then you have to go into whatever, your local credit union, log into that account, put in your password, put in your 2FA and say, this is me and I want to receive this money. You handle the handshake from both sides. So it's like, I think there needs to be something like that. Or at least that seems to be one possible solution. And the digital music distribution company here, DisproKid, I have not heard from them still.
43:48Emanuel:They're not an easy company to reach. They have an AI chatbot support thing. There's a support email address. And I've tried both of those methods to reach them. I haven't heard anything. And then I heard from Spotify and I heard from the other music platforms. And they're like, we are aware of this problem. We are trying to solve this problem. It is a difficult problem. I mentioned in the story, for example, there's another company that does digital music distribution called TuneCore. They try to detect and outright ban AI-generated music. And I talked to a musician who is a human being and made human music.
44:27Emanuel:And she was accidentally tagged as AI and her album was rejected and she couldn't distribute her album. So there are legitimate problems there. But this has to get better. It is ridiculous, the state of digital music distribution. It can't go on like this. Yeah, that makes sense. All right, we'll leave that there. If you're listening to the free version of the podcast, I will now play us out. But if you are a paying 404 Media subscriber, we're going to talk about the absolute disaster that is our email inboxes because of AI agents, believe it or not. You can subscribe and gain access to that content at 404media.co.
45:11As a reminder, 404media is journalist founded and supported by subscribers. If you do wish to subscribe to 404media and directly support our work, please go to 404media.co. You'll get unlimited access to our articles and an ad-free version of this podcast. You'll also get to listen to the subscribers' own section where we talk about a bonus story each week. This podcast is produced by Alyssa Midcalf. another way to support us is by leaving a five-star rating and review for the podcast that stuff really really does help us out this has been 404 media we'll see you again
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We start this week with Jason’s story about OpenAI and Microsoft’s big admissions from court records that they are destroying the internet in all sorts of ways, and stealing intellectual property on an unprecedented scale. He admit it. After the break, Emanuel explains how he hijacked a real band’s Spotify page with AI-generated slop. In the subscribers-only section, we hear all about iLands, the AI agent platform that is basically just spam.
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I Hijacked a Real Artist's Spotify with AI Music. It Was Disturbingly Easy
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