It’s hard to keep track of what threatens music, and what threatens memes, these days, with both often leaking into each other as virality aids the spread of all kinds of phenomena and ephemera. But the mess is certainly gathering in some new and unexpected forms: enter the odd tale of Drake, AI and a bizarre remix that encapsulates so many of the recent changes and challenges to our culture, that it’s not only a weird phenomenon in its own right, but one that, in its unbiddable messiness, serves as a small Illumination of what’s at issue.
Then when he showed up on a parody remix of the Plain White T’s song ‘Hey There Delilah’ by the comedic rapper Snowd4y – renamed ‘Wah Gwan Delilah’ – the internet exploded. It was a breathtakingly quick transition into comedy, and the world reacted in various stages of incredulity and hysterics.
At first, most who heard the track, which quickly began circulating online, were baffled and amused, not least by Drake’s participation in the remix, as well as by a series of rumours that the lyrics might have been AI-generated. The Plain White T’s’ lacklustre response – a stunned and disbelieving silence – became emblematic of the baffled spectators’ reaction.
Combined with the rapid rate at which AI is evolving, its capacity to imitate living artists has created a visceral reaction towards the edgiest musical releases. Drake’s apparent earnestness in his remix is a good example of how AI’s rising power might mean we question even the most outlandish of collaborators.
Besides sparking yet another debate about where Drake’s music is headed after his (deceptively) serious beef with Kendrick Lamar this year, the Timbs meme drew out discussions about authenticity and satire in the digital age, and highlighted the ways our public opinion can shift instantaneously. In the madcap month that is public response to all things viral, it’s enough to make one wince.
What’s notable, though, is the way Drake’s parody came so soon after his longstanding rivalry with Kendrick Lamar bubbled back to the surface. And then there is the fact that Drake remixed a serious song with seemingly facetious lyrics to imply that he too is as serious as Lamar. In the digital era, musicians are using disparate strategies to make their way.
The arguments about the remix extend far beyond the boundaries of music to issues surrounding technology, culture and communication. The speed with which artists can connect and respond to one another via digital media highlights a major shift in how rivalries and collaborations between musicians play out.
In an age of digital culture where the relationship between art and technology is ever-evolving, and the currents of web culture and pop culture are moving so fast, humour and art continue to create illusory paradoxes. 'Wah Gwan Delilah' is not just a case of a fleeting viral moment. It is also a reflection of how the increasingly rapid and often disorienting progress of popular forms of entertainment affects society.
The unexpected alliance of Drake and Snowd4y – whether you sympathise or smirk at it – is a demonstration of the sudden capability of contemporary media to fuse worlds, blur boundaries and invite speculation. In a time of reckoning with AI, avatars and virality, that spark of open-mindedness has perhaps never been more necessary.
In this tale, these various contexts of swiftness encompass more than mere velocity or change: they stand for the quickness and responsiveness demanded of us to navigate the ways of the 21st century in all its digital flourishing, from mashup to memes and beyond. Whether triumphant or not, the story of 'Wah Gwan Delilah', and its musical, technological and cultural afterlife, is about the swiftness of change that has so sharply altered our communal experiences, moving at the accelerated pace of contemporary digital culture. The comic improvisation here in our accounts is meant to trigger discussion and discovery by puncturing public discourse about digital culture.
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