Drake Rumored To Have His Own Radio Station in 'Grand Theft Auto VI'
Summary
Drakecould be the next artist to have his own radio station inGrand Theft Auto VI.
The rumor stems fromJermaine Dupri's recent appearance on theNew Rory and Malpodcast, where the producer revealed that he was asked to do something similar. 'They asked me to doGrand Theft Auto, and they were saying like Drake got his own radio station onGrand Theft Auto,' he said. Dupri added, 'The way that they were getting ready to do it is Drake can actually upload music that we probably ain't ever heard online or wherever else.'
Rockstar did not confirm the reports, however, leaving fans to wait for either an official announcement or release of the game.
Other artists rumored to have their ownGTA VIradio stations includeDJ KhaledandT-Pain. Rumors of DJ Khaled's involvement date back to February, withspeculationsclaiming that he could also host his radio station. Meanwhile, T-Pain himselfconfirmedthat he was working on the upcoming game.
Watch the fullNew Rory and Malepisode above and stay tuned for more info.
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The Verge
a day ago
- The Verge
The music industry is building the tech to hunt down AI songs
The music industry's nightmare came true in 2023, and it sounded a lot like Drake. 'Heart on My Sleeve,' a convincingly fake duet between Drake and The Weeknd, racked up millions of streams before anyone could explain who made it or where it came from. The track didn't just go viral — it broke the illusion that anyone was in control. In the scramble to respond, a new category of infrastructure is quietly taking shape that's built not to stop generative music outright, but to make it traceable. Detection systems are being embedded across the entire music pipeline: in the tools used to train models, the platforms where songs are uploaded, the databases that license rights, and the algorithms that shape discovery. The goal isn't just to catch synthetic content after the fact. It's to identify it early, tag it with metadata, and govern how it moves through the system. 'If you don't build this stuff into the infrastructure, you're just going to be chasing your tail,' says Matt Adell, cofounder of Musical AI. 'You can't keep reacting to every new track or model — that doesn't scale. You need infrastructure that works from training through distribution.' The goal isn't takedowns, but licensing and control Startups are now popping up to build detection into licensing workflows. Platforms like YouTube and Deezer have developed internal systems to flag synthetic audio as it's uploaded and shape how it surfaces in search and recommendations. Other music companies — including Audible Magic, Pex, Rightsify, and SoundCloud — are expanding detection, moderation, and attribution features across everything from training datasets to distribution. The result is a fragmented but fast-growing ecosystem of companies treating the detection of AI-generated content not as an enforcement tool, but as table-stakes infrastructure for tracking synthetic media. Rather than detecting AI music after it spreads, some companies are building tools to tag it from the moment it's made. Vermillio and Musical AI are developing systems to scan finished tracks for synthetic elements and automatically tag them in the metadata. Vermillio's TraceID framework goes deeper by breaking songs into stems — like vocal tone, melodic phrasing, and lyrical patterns — and flagging the specific AI-generated segments, allowing rights holders to detect mimicry at the stem level, even if a new track only borrows parts of an original. The company says its focus isn't takedowns, but proactive licensing and authenticated release. TraceID is positioned as a replacement for systems like YouTube's Content ID, which often miss subtle or partial imitations. Vermillio estimates that authenticated licensing powered by tools like TraceID could grow from $75 million in 2023 to $10 billion in 2025. In practice, that means a rights holder or platform can run a finished track through TraceID to see if it contains protected elements — and if it does, have the system flag it for licensing before release. 'We're trying to quantify creative influence, not just catch copies.' Some companies are going even further upstream to the training data itself. By analyzing what goes into a model, their aim is to estimate how much a generated track borrows from specific artists or songs. That kind of attribution could enable more precise licensing, with royalties based on creative influence instead of post-release disputes. The idea echoes old debates about musical influence — like the 'Blurred Lines' lawsuit — but applies them to algorithmic generation. The difference now is that licensing can happen before release, not through litigation after the fact. Musical AI is working on a detection system, too. The company describes its system as layered across ingestion, generation, and distribution. Rather than filtering outputs, it tracks provenance from end to end. 'Attribution shouldn't start when the song is done — it should start when the model starts learning,' says Sean Power, the company's cofounder. 'We're trying to quantify creative influence, not just catch copies.' Deezer has developed internal tools to flag fully AI-generated tracks at upload and reduce their visibility in both algorithmic and editorial recommendations, especially when the content appears spammy. Chief Innovation Officer Aurélien Hérault says that, as of April, those tools were detecting roughly 20 percent of new uploads each day as fully AI-generated — more than double what they saw in January. Tracks identified by the system remain accessible on the platform but are not promoted. Hérault says Deezer plans to begin labeling these tracks for users directly 'in a few weeks or a few months.' 'We're not against AI at all,' Hérault says. 'But a lot of this content is being used in bad faith — not for creation, but to exploit the platform. That's why we're paying so much attention.' Spawning AI's DNTP (Do Not Train Protocol) is pushing detection even earlier — at the dataset level. The opt-out protocol lets artists and rights holders label their work as off-limits for model training. While visual artists already have access to similar tools, the audio world is still playing catch-up. So far, there's little consensus on how to standardize consent, transparency, or licensing at scale. Regulation may eventually force the issue, but for now, the approach remains fragmented. Support from major AI training companies has also been inconsistent, and critics say the protocol won't gain traction unless it's governed independently and widely adopted. 'The opt-out protocol needs to be nonprofit, overseen by a few different actors, to be trusted,' Dryhurst says. 'Nobody should trust the future of consent to an opaque centralized company that could go out of business — or much worse.'
2 days ago
Cyprus' lyrical duelists spit fierce rhymes as they battle it out to the licks of a fiddle
LARNACA, Cyprus -- Lyrical duelists in Cyprus spit rhymes in head-to-head contests, keeping alive a tradition known as 'tsiattista' that emerged centuries before the likes of Kendrick Lamar and Drake. Konstantinos Christou Grilias and Adamos Peratikos are among a new group of poets in this Mediterranean country who battle it out live on stage to the rhythms of the lute and fiddle. The battles are fierce, but you won't find any Kendrick-Drake style beef. Tsiattista made UNESCO's list of Intangible Cultural Heritage in 2011. The similarities with American hip-hop diss songs and battle rap are many: two duelists using their wits and turns of phrase to boast how superior they are, giving opponents a schooling in an onslaught of lyrical beatdowns. It's complete with assertive gestures and the hands-behind-the-back patience of the poet waiting to pounce. 'Even if you'd been a paramedic, I'd send you to hospital with a heart attack,' Peratikos told one adversary — a line with more snap in the Cypriot Greek dialect, whose syntax is akin to ancient Greek. Grilias dissed his opponent as a lightweight and a laughingstock. The audience of hundreds along a seaside promenade murmured in approval. Tsiattista battles which have been around since at least the end of the 19th century, are undergoing a bit of a revival, thanks to performers like Grilias and Peratikos. 'We urge other kids who like it to come along to safeguard this institution,' said Peratikos, 41. 'The goal isn't about awards, the goal is to keep tradition alive.' The 44-year-old Grilias said he's never really delved into the world of Kendrick Lamar or Jay-Z. 'Honestly, I've never listened to rappers. They told me that they battle in their own language, in their own way,' Grilias said as he prepared for a tsiattista duel at the peak of a festival for the Orthodox Christian Pentecost. 'Rappers don't know where Cyprus is," he added. The new group of performers, known as tsiattistaes, started to replace the older generation about 15 years ago at the premier competition in Larnaca during the annual Pentecost festival known as Kataklysmos, said ethnomusicologist Nicoletta Demetriou, who is director of the island nation's Music Archive. The new generation includes women, though few participate because of lingering social exclusion, Demetriou said. The current tsiattista format of a two-verse rhyme with a total of 15 syllables was developed in the late 18th to early 19th century, evolving from the introduction of the rhyming verse to the Greek-speaking world in the 15th and 16th centuries, Demetriou said. It draws on a tradition of poets matching wits from the times of Pericles in ancient Greece. The structure and musical accompaniment are simple, so that the rhymes are clear and understandable for both the audience and the adversary. Contests can address a range of themes, but the underlying premise is to determine who's the best at the diss. 'It's usually a fight, meaning 'I'd clobber you, kill you, bury you,' Grilias said. 'But I believe the public likes more a bit of humor, too.' For contestants, it's about who shows up ready, can stay cool and make the fewest mistakes in front of a crowd. 'Truth is, you're stressed, you're under pressure," Grilias said, and 'the person who can best handle this has the advantage.' One useful strategy is guessing how to get into your opponent's way of thinking, predicting possible responses to your lines, Peratikos said. He dismissed AI technology as incapable of coming up with effective rhymes in the Cypriot Greek dialect. 'There are words that we've heard but we don't even know, so there's no way artificial intelligence does,' Peratikos said. At the end of a long night of battling, Grilias and Peratikos finished fourth and fifth, respectively. A judging panel composed of men and women determined the winners. The two contestants took their places in stride. 'We're all friends, that's what's important,' Grilias said.
San Francisco Chronicle
2 days ago
- San Francisco Chronicle
Cyprus' lyrical duelists spit fierce rhymes as they battle it out to the licks of a fiddle
LARNACA, Cyprus (AP) — Lyrical duelists in Cyprus spit rhymes in head-to-head contests, keeping alive a tradition known as 'tsiattista' that emerged centuries before the likes of Kendrick Lamar and Drake. Konstantinos Christou Grilias and Adamos Peratikos are among a new group of poets in this Mediterranean country who battle it out live on stage to the rhythms of the lute and fiddle. The battles are fierce, but you won't find any Kendrick-Drake style beef. Tsiattista made UNESCO's list of Intangible Cultural Heritage in 2011. The similarities with American hip-hop diss songs and battle rap are many: two duelists using their wits and turns of phrase to boast how superior they are, giving opponents a schooling in an onslaught of lyrical beatdowns. It's complete with assertive gestures and the hands-behind-the-back patience of the poet waiting to pounce. 'Even if you'd been a paramedic, I'd send you to hospital with a heart attack,' Peratikos told one adversary — a line with more snap in the Cypriot Greek dialect, whose syntax is akin to ancient Greek. Grilias dissed his opponent as a lightweight and a laughingstock. The audience of hundreds along a seaside promenade murmured in approval. Tsiattista battles which have been around since at least the end of the 19th century, are undergoing a bit of a revival, thanks to performers like Grilias and Peratikos. 'We urge other kids who like it to come along to safeguard this institution,' said Peratikos, 41. 'The goal isn't about awards, the goal is to keep tradition alive.' The 44-year-old Grilias said he's never really delved into the world of Kendrick Lamar or Jay-Z. 'Honestly, I've never listened to rappers. They told me that they battle in their own language, in their own way,' Grilias said as he prepared for a tsiattista duel at the peak of a festival for the Orthodox Christian Pentecost. 'Rappers don't know where Cyprus is," he added. The new group of performers, known as tsiattistaes, started to replace the older generation about 15 years ago at the premier competition in Larnaca during the annual Pentecost festival known as Kataklysmos, said ethnomusicologist Nicoletta Demetriou, who is director of the island nation's Music Archive. The new generation includes women, though few participate because of lingering social exclusion, Demetriou said. The current tsiattista format of a two-verse rhyme with a total of 15 syllables was developed in the late 18th to early 19th century, evolving from the introduction of the rhyming verse to the Greek-speaking world in the 15th and 16th centuries, Demetriou said. It draws on a tradition of poets matching wits from the times of Pericles in ancient Greece. The structure and musical accompaniment are simple, so that the rhymes are clear and understandable for both the audience and the adversary. Contests can address a range of themes, but the underlying premise is to determine who's the best at the diss. 'It's usually a fight, meaning 'I'd clobber you, kill you, bury you,' Grilias said. 'But I believe the public likes more a bit of humor, too.' For contestants, it's about who shows up ready, can stay cool and make the fewest mistakes in front of a crowd. 'Truth is, you're stressed, you're under pressure," Grilias said, and 'the person who can best handle this has the advantage.' One useful strategy is guessing how to get into your opponent's way of thinking, predicting possible responses to your lines, Peratikos said. He dismissed AI technology as incapable of coming up with effective rhymes in the Cypriot Greek dialect. 'There are words that we've heard but we don't even know, so there's no way artificial intelligence does,' Peratikos said. At the end of a long night of battling, Grilias and Peratikos finished fourth and fifth, respectively. A judging panel composed of men and women determined the winners. The two contestants took their places in stride. 'We're all friends, that's what's important,' Grilias said.
