The channel itself has nearly 40,000 subscribers, and many of its videos have racked up hundreds of thousands of views.
The notices specifically cite AI, with Roc Nation writing, “this content unlawfully uses an AI to impersonate our client’s voice,” according to Baio’s conversations with the creator, who remains anonymous and goes by the online handle Voice Synthesis. In a strange turn of events, Roc Nation LLC, Jay-Z’s full-service entertainment agency, filed copyright strikes against the YouTube uploads of the above-mentioned deepfakes. In a fascinating deep dive from XOXO festival co-founder Andy Baio over at his website Waxy, Baio looks into AI-powered Jay-Z impersonations on YouTube, specifically one creator using Jay-Z’s iconic voice and hip-hop flow to rhyme classics like William Shakespeare's “To Be or Not to Be” soliloquy from Hamlet and Billy Joel’s “We Didn’t Start the Fire.” Kanye operates according to his own timeline.Roc Nation has issued strikes against some Jay-Z audio deepfakes Just, uh, do not expect Watch The Throne 2 anytime soon. Nobody is better equipped to speak to those on record than Jay-Z. The rough-hewn collage of collaborators reflects an artist who, at least on record, is dropping the ugly rhetoric and didactic sermonizing of recent years to ruminate once again on his titanic strengths - and weaknesses. Donda's a heavy tenth LP, in that it's only meaningful to the listener in relation to how much Kanye’s previous nine LPs meant something to them. The two have made a few nods toward each other in recent years: Jay wagged a finger at media and fans pitting them against each other (then uncharacteristically went out of his way on Twitter to clarify that his bar was not a diss) and has continued to refer to Kanye as his “little brother.” Kanye, for his part, posted an Instagram of the Carters captioned “famleeeeee” and they all appeared to reunite for the first time, publicly at least, at Diddy’s 50th birthday party in 2019.īut all that history is why Jay's slight verse carries so much weight after Kanye's (let's say) volatile back half of the '10s. Courtesy of Kevin Mazur for Getty Images/Sean Combs.
Kanye West and Jay-Z attend Sean Combs 50th Birthday Bash on Decemin Los Angeles, California. It’s less about bars and wordplay, more a show of public support during a tough time.) (In that way, the verse feels similar to Jay’s appearance on the “Power” remix-the one where he says “In search of the truth even if it goes through Taylor Swift”.
At the Donda premiere event, Kanye stood stock-still at the center of his endless pale stage, fist up in the sky, knowing that if any verse could solidify the album’s redemption narrative it was this one: his big brother, (BIG's brother) putting an arm around him after years of beef. Coming from Jay, and in this setting, though, it felt different. West previously teased a Throne reunion back in 2018, but that was filed by most listeners alongside the Drake collaborative LP in the encyclopedia of abandoned Kanye projects. He spends the rest of the verse reiterating the duo's recoupling, folding in a few references to songs throughout Kanye's catalog. "Donda, I'm with your baby when I touch back road Told'em stop all of that red cap, we goin' home Not me with all of these sins, casting stones This might be the return of The Throne" While Kanye does his best Phil Collins, Hov raps in broad strokes, taking a few bars to play to the album's dark-night-of-the-soul themes of redemption and exile, before pricking the ears of exhausted news writers internet-wide: yesterday, the brief verse, well, sorta sounds like it was recorded at 4 p.m. But few verses have ever spoken louder than the benediction delivered by Jay-Z at the close of West's new album Donda, which he premiered at a live listening event in Atlanta's Mercedes Benz Stadium last night (although at press time, the album is still nowhere to be found on streaming services). Kanye West has always spoken through his guest verses, whether it was the Chicago dues-paying of College Dropout's features, Pusha T's thesis statement on "Runaway," or the clout-flexing Malice verse on Jesus Is King.
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