Drake drama showed how AI prophecy can become reality

Willonius Hatcher bet on success with 'BBL Drizzy'

Willonius Hatcher in Wired, March 2024

“BBL Drizzy” became the first breakthrough for AI music going viral—but filmmaker, comedian and musician Willonius Hatcher already predicted how this could happen.

Hatcher is an avid artificial intelligence creative who gave an interview to Wired magazine earlier this year talked about how the technology would help mid-level professionals like himself, going as far as to suggest AI could serve as a form of reparations for the historically marginalized. Like a wild card in a game of Uno, AI can instantly and dramatically enable opportunity for unconnected creators without capital, and eliminate almost all barriers to entry in an otherwise impenetrable field. 

“I am going to be straight-up honest: AI is our reparations. I’m going to use these tools to make whatever it is I can make, which will allow me to accelerate my career and move to a certain space.”

Drake will go down in the history books for being the first to clear an AI generated sample, in what undoubtedly become a ubiquitous practice in the music industry.

Weeks after the interview was published, Hatcher created an ode to suspicious plastic surgery using AI music generator Udio, pairing lampoon lyrics with soulful R&B. It was a response to the feud between Drake and Kendrick Lamar. It caught the ear of Metro Boomin, who used it to spur a diss track campaign against Drake.

Artwork for BBL Drizzy. Songs created on AI software are public domain, but in this case, Hatcher wrote the lyrics, which is why the song required licensing

Now, this is where it gets interesting: Drake is featured on “U My Everything” by Sexyy Redd, which features a sample of “BBL Drizzy” with the approval of Hatcher—who was compensated for his participation. For this, Drake will go down in history as the first hip-hop star to seek clearance for an AI generated sample. It sets a precedent for artists like Hatcher being able to share a finished song, complete with orchestration and artwork, and end up on par with industry heavyweights with access to symphony orchestras, recording studios, and visual marketing teams. 

“AI allowed me to do my art at a very high level. To make ‘BBL Drizzy,’ I would’ve had to get a ’70s solo singer, a band, a studio, plus a photo shoot for the cover. It just wouldn’t have happened. “

The prophecy Hatcher previously offered was somewhat self-fulfilled—he’d been an avid AI user relentlessly experimenting with software and styles, in tune with his cultural values. But the music industry also needs to meet AI artists halfway by being transparent and fair, and parsing wherever authorship and AI are intertwined.