Rapper HoodyBaby Charged in Alleged 2023 London Nightclub Attack Tied to Chris Brown

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A fellow musician and friend of Chris Brown has been charged alongside the Grammy-winning singer on allegations they beat and seriously injured a music producer at a London nightclub in 2023, police said Saturday (May 17).

Omololu Akinlolu, 38, who performs under the name HoodyBaby, was due to appear in Manchester Magistrates’ Court on a charge of causing grievous bodily harm with intent.

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Brown, 36, was jailed without bail on the same charge Friday (May 16), throwing his upcoming tour into question. He is scheduled to appear at Southwark Crown Court in London on June 13, which is the third day of his world tour.

Akinlolu is a rapper from Dallas, Texas, who has collaborated with Brown and Lil Wayne. He also goes by the names Fat Leopard and Super Hood.

Police gave no details on what role Akinlolu played in the alleged assault but said he was charged in connection with the same incident as Brown.

Brown was on tour in the U.K. in February 2023 when he launched an unprovoked attack on producer Abe Diaw, striking him several times with a bottle at the Tape nightclub in the swanky Mayfair neighborhood in London, prosecutor Hannah Nicholls said in court Friday.

Brown then chased Diaw and punched and kicked him in an attack caught on surveillance camera in front of a club full of people, she said.

Brown did not enter a plea and only spoke to confirm his name, birth date and gave his address as the Lowry Hotel, where he was arrested in Manchester early Thursday and taken into custody.

Brown’s representative has not responded to multiple requests for comment from The Associated Press.

Brown, often called by his nickname Breezy, burst onto the music scene as a teen in 2005 and has become a major hitmaker over the years with notable songs such as “Run It,” “Kiss Kiss” and “Without You.”

He won his first Grammy for best R&B album in 2011 for F.A.M.E. and then earned his second gold trophy in the same category for 11:11 earlier this year.

He is scheduled to launch an international tour next month with artists Jhene Aiko, Summer Walker and Bryson Tiller, opening with a European leg on June 8 in Amsterdam before starting North America shows in July.

Soundgarden Bassist Teases New Music In Chris Cornell Tribute Post

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A day before the eighth anniversary of Chris Cornell’s suicide, Soundgarden bassist Ben Shepherd has written a lengthy Instagram post saluting the vocalist’s enduring influence and also referencing the unfinished album the imminent Rock and Roll Hall of Fame inductees were working on at the time.

The message calls out “The Road Less Traveled,” a song written by Cornell and drummer Matt Cameron “for our album that has yet to be named. Just hearing Chris’ voice helps. I know he did that for everyone he knew. He did for me, filled with self-doubt and indebtedness. In just his tone, [he] knew what I was going through and forgave me like he always did, even when he was older. It’s at this point of recording all of our previous albums I’d get this overwhelming hit of awe, camaraderie, power of creativity — majesty even — and love, from the music, and my bandmates, and I guess just pure life force.”

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“I am very blessed by my loved ones and very honored to have known or worked with each of my brothers Kim [Thayil], Matt and Chris in this path of music and life, of loves and losses, righteousness and folly, but I can tell you, it feels good and invigorating to hear Chris singing from over that horizon and hear the mighty, mighty life of souls sharing,” Shepherd continued. “To hear, as a fan and band member, a song or two Chris brought in a few years ago turn before my very ears and finger blisters into a full blown Soundgarden tune is like feeling a glacier fall away off your chest.”

Soundgarden was active from 1984-1997 but did not play again until 2010 while Cornell focused on a solo career. Following their reunion, the group toured regularly for the next seven years during breaks in Cameron’s schedule with Pearl Jam and released a comeback album, King Animal, in 2012.

After years of unpleasant legal wrangling, Cornell’s widow Vicky and the surviving members “reached an amicable out of court resolution” in April 2023, allowing for the release of “the final songs that the band and Chris were working on” before his passing. The parties had been in litigation in federal court for four years, with numerous high-level music industry managers and executives having attempted to help them broker a settlement. In 2019, Vicky Cornell sued the musicians for wrongfully withholding royalty money owed to the Cornell estate, in what she claimed was an attempt to force her to turn over seven unreleased recordings Chris made before he died.

Vicky Cornell filed another suit in 2021, claiming the surviving members offered her “the villainously low figure of less than $300,000″ for the estate’s stake in the Soundgarden catalog despite it having been valued at $16 million.

Longtime Soundgarden/Cornell producer Brendan O’Brien was rumored to be involved in the unreleased recordings that were at issue, but he denied having participated in them in a December 2021 interview with SPIN. Asked about the unfinished material, he said, “I’ve never heard it. In spite of what may have been said or written, Chris and I never talked about it. We were focused on [the covers collection No One Sings Like You Anymore, which was recorded in 2016 but not released until 2021]. Soundgarden seemed like a separate thing, which was great by me. I felt good about that. But I’d love to hear it at some point — I really would. I hope they get it figured out.”

Shepherd closed his post by saying, “we all have a lot of work to go through in this life, but we are all to a man trying our best and to do each and every one of us proud. You, Chris, are right here with us. We all miss you brother. See you when we do.” He signed off by writing, “PS, please say hey to Mark,” apparently a reference to friend and late Screaming Trees frontman Mark Lanegan, who died in 2022.

As previously reported, Soundgarden will join Bad Company, Chubby Checker, Joe Cocker, Cyndi Lauper, Outkast and the White Stripes as part of the Rock and Roll Hall of Fame’s 2025 induction class during a Nov. 8 ceremony in Los Angeles.

To see our running list of the top 100 greatest rock stars of all time, click here.

Acyan’s “Ghost Town” EP Is Bass Music Storytelling at Its Most Ominous

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In a musical era saturated with releases expressly designed for virality, Acyan’s new Ghost Town EP delivers a breath of hauntingly fresh air. Out now via Wubaholics, the five-track project growls and groans with the eerie ambience of the forgotten towns that inspired it.

There’s an honesty to Ghost Town that makes it stand apart. Acyan, whose day job as a Fort Collins bus driver lends him an unpretentious mystique, brings a rare depth of intent. Where others settle for filthy beats and call it a day, he built a narrative shaped by a solo road trip through rural America.

Ghost Town is a post-industrial tone poem told through trap beats both unsettling and captivating. The opening track “RAVEN” sets the scene with delirious, claustrophobic energy that evokes the terror of being followed by a malicious entity. But it remains curiously danceable, a tightly coiled track that presents Acyan as both technician and storyteller.

“KEOTA” follows with more grime, unease and cleverness with delicately crafted sound design that conveys Acyan’s chaotic emotional state. A tempo switch in the second drop adds notable flair, seeming as if the track itself is dodging ghosts. Each element feels ominously lab-grown, but the track’s emotional potency keeps it afloat in a way that no amount of technical know-how could.

By the time we reach the EP’s closer “URAVAN,” the tone shifts. It’s not quite catharsis, but it’s something like a sunrise over an empty landscape. Airier and quietly triumphant, it rounds out the EP with a brief release from the existential dread preceding it.

With support from icons like Skrillex and RL Grime, and a fast-climbing profile bolstered by high-profile festival performances, Acyan is emerging as a force to be reckoned with in bass music. Ghost Town feels like a message sent from the edge of isolation, but it’s sure to bring people together through its unique sonic identity and depth.

Listen to Ghost Town below and find the new EP on streaming platforms here.

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FISHER to Headline Downtown Denver Block Party in Cultural Milestone for 16th Street Mall

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Downtown Denver will pulse to the beat of house music and cultural enrichment alike when FISHER headlines a high-energy block party at 16th & Welton, a landmark event celebrating the $175 million revitalization of the city’s 16th Street Mall.

Scheduled for May 26th, the open-air concert is set to transform one of Denver’s most historic corridors. The city, long stereotyped as a bass music stronghold, will turn into a tech house dreamland to celebrate Memorial Day.

The event is the result of a strategic collaboration between AEG Presents Rocky Mountains, the Downtown Denver Partnership and the City of Denver. It has the feel of a turning point in the city’s cultural evolution at the intersection of art, nightlife, music and community.

“Events like this concert accelerates downtown’s economic vitality, drawing fans and visitors to our center city,” said Kourtny Garrett, President and CEO of the Downtown Denver Partnership. “Activating downtown, especially on 16th Street, is fundamental to our mission of building a thriving urban core for all to enjoy.”

DJ support will come from a stacked undercard including SIDEPIECEOdd Mob and Lauren Lane, guaranteeing a night that will thrill fans of groove-heavy dance music. But the real story is the city itself, leaning into its growth as an electronic music capital and bringing global talent to the very streets that define it.

You can purchase passes to the block party here.

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World Leaders Shown AI Baby Versions of Themselves at European Summit

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World leaders being shown baby versions of themselves at a global summit.

Baby Erdoğan’s Mustache

It’s called diplomacy, guys.

This year’s European Political Community, an annual forum for European leaders founded in 2022 following the Russian invasion of Ukraine, kicked off on Friday in Tirana, Albania. Europe’s leaders were greeted with a ten-ish minute presentation that celebrated Europe’s commitment to sovereignty and shared triumphs over evil. There were flashing lights and dance performances, and a few different video sequences. And to close out the show, as Politico reports, the Albanian government landed on the obvious editorial choice: a montage of the summit’s leaders pictured as AI-generated babies, who each said “Welcome to Albania” in their country’s language.

It was perfect. Did baby-fied Recep Tayyip Erdoğan, Turkey’s authoritarian strongman, rock a tiny AI-generated mustache? He did indeed! Did French President Emmanuel Macron smack his gum in pleasant bemusement as he watched his AI baby self smile onscreen? You bet!

Our hats are off to Edi Rama, Albania’s recently re-elected president. So far, between MAGAworld and its monarch embracing AI slop as its defining aesthetic, AI-generated misinformation causing chaos, and attempted AI mayors and political parties, this is easily the most compelling use of generative AI in politics we’ve seen.

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The camera televising the event repeatedly panned to the crowd, where the response from Europe’s most powerful was mixed. Some laughed, while others bristled; some mostly looked confused. Which makes sense, given that this is a serious conference where, per Politico, the majority of leaders are looking to push for harsher sanctions on Russia as its war on Ukraine wages on and tense talks between Moscow and Kyiv continue without a ceasefire.

It’s unclear how the AI baby bit fit into Albania’s message of a peaceful, unified Europe. Though the presentation did start with childlike drawings, the sounds of kids laughing, and a youthful voiceover, so maybe it was an attempt to bring the show full circle? Or maybe, considering the heavy subject matter and fast-heating global tension and uncertainty, Rama just wanted to break the ice.

Anyway. We’re sure nothing will humble you, a leader of a nation, like sitting in an auditorium and oscillating between unsure grimaces and giggling whilst staring down your AI-generated baby face.

More on AI and guys in Europe: The New Pope Is Deeply Skeptical of AI

The post World Leaders Shown AI Baby Versions of Themselves at European Summit appeared first on Futurism.

Star Wars’ Showcase of AI Special Effects Was a Complete Disaster

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Special effects house Industrial Light and Magic shared a new AI demo of Star Wars creatures that look absolutely awful.

If Disney leadership has its way, we’ll all be drooling over endless Star Wars reboots, sequels, and spinoffs until the Sun explodes. And what better way to keep the slop machine humming than using good old generative AI?

Unfortunately, as highlighted by 404 Media, we just got a preview of what that might look like. Industrial Light and Magic, the legendary visual effects studio behind nearly every “Star Wars” movie, released a new demo showcasing how AI could supercharge depictions of the sci-fi universe.

And unsurprisingly, it looks absolutely, flabbergastingly awful.

The demo, called “Star Wars: Field Guide,” was revealed in a recent TED talk given by ILM’s chief creative officer Rob Bredow, who stressed that it was just a test — “not a final product” — created by one artist in two weeks. 

It’s supposed to give you a feel of what it’d be like to send a probe droid to a new Star Wars planet, Bredow said. But what unfolds doesn’t feel like “Star Wars” at all. More so, it’s just a collection of generic-looking nature documentary-style shots, featuring the dumbest creature designs you’ve ever seen. And all of them are immediately recognizable as some form of real-life Earth animal, which echoes the criticisms of generative AI as being merely a tool that regurgitates existing art.

You can watch it here yourself, but here’s a quick rundown of the abominations on display — which all have that fake-looking AI sheen to them. A blue tiger with a lion’s mane. A manatee with what are obviously just squid tentacles pasted onto its snout. An ape with stripes. A polar bear with stripes. A peacock that’s actually a snail. A blue elk that randomly has brown ears. A monkey-spider. A zebra rhino. Need we say more? 

“None of those creatures look like they belong in Star Wars,” wrote one commenter on the TED talk video. “They are all clearly two Earth animals fused together in the most basic way.”

Make no mistake: ILM is a pioneer in the special effects industry. Founded by George Lucas during the production of the original “Star Wars” movie, the outfit has innovated so many of the feats of visual trickery that filmmakers depend on today while spearheading the use of CGI. Its bona fides range from “Terminator 2,” and “Jurassic Park,” to “Starship Troopers.”

Which is why it’s all the more disheartening to see it kowtowing to a technology that bastardizes an art form it perfected. What ILM shows us is a far cry from the iconic creature designs that “Star Wars” is known for, from Tauntauns to Ewoks.

Sure, there’s some room for debate about how much of a role AI should play in filmmaking — with labor being the biggest question — and Bredow broaches the subject by pointing out that ILM has always taken cutting-edge technologies and used them along with proven techniques. He assures the audience that real artists aren’t going anywhere, and that “innovation thrives when the old and new technologies are blended together.”

That’s all well and good. But to jump from that sort of careful stance to showing off completely AI-generated creations sends a deeply conflicting message.

More on AI in movies: Disney Says Its “Fantastic Four” Posters Aren’t AI, They Actually Just Look Like Absolute Garbage

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The Hot New AI Tool in Law Enforcement Is a Workaround for Places Where Facial Recognition Is Banned

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A new AI tool called Track is being used as a workaround to the current laws against facial recognition, not to improve the tech.

At the end of 2024, fifteen US states had laws banning some version of facial recognition.

Usually, these laws were written on the basis that the technology is a nightmare-level privacy invasion that’s also too shoddy to be relied upon. Now, a new company aims to solve that problem — though maybe not in the way you’d imagine (or like).

Per a report in MIT Technology Review, a new AI tool called Track is being used not to improve facial recognition technology, nor as a way to make it less invasive of your personal civil liberties, but as a workaround to the current laws against facial recognition (which are few and far between, at least when compared to the places it’s allowed to operate). It’s a classic tale of technology as “disruption,” simply by identifying a legal loophole to be exploited.

That new tool, called Track, is a “nonbiometric” system that emerged out of a SkyNet-esque company that specializes in video analytics, Veritone.

According to MIT Technology Review‘s story, it already has 400 customers using Track in places where facial recognition is banned, or in instances where someone’s face is covered. Even more: Last summer, Veritone issued a press release announcing the US Attorney’s office had expanded the remit of their Authorization to Operate, the mandate that gives a company like Veritone the ability to carry out surveillance operations.

Why? Because Track can (supposedly) triangulate people’s identities off of footage using a series of identifying factors, which include monitored subjects’ shoes, clothing, body shape, gender, hair, and various accessories — basically, everything but your face. The footage Track is capable of scanning includes everything from closed-circuit security tapes, body-cams, drone footage, Ring cameras, and crowd/public footage (sourced from various social media networks where it’s been uploaded).

In a view MIT Technology Review obtained of Track in operation, users can select from a dropdown menu listing a series of attributes by which they want to identify subjects: Accessory, Body, Face, Footwear, Gender, Hair, Lower, Upper. Each of those menus has a sub-menu. On “Accessory,” the sub-menu lists: Any Bag, Backpack, Box, Briefcase, Glasses, Handbag, Hat, Scarf, Shoulder Bag, and so on. The “Upper” attribute breaks down into Color, Sleeve, Type (of upper-body clothing), and those types break down into more sub-categories.

Once the user selects the attributes they’re looking for, Track gives the user a series of images taken from the footage being reviewed, containing a series of matches. And from there, it will continue to help users narrow down footage until they’ve assembled a triangulation of their surveillance target’s path.

If this sounds like current facial recognition software — in other words, like it’s a relatively fallible Orwellian enterprise, bound to waste quite a bit of money, netting all the wrong people along the way — well, the folks at Veritone see it another way.

Their CEO called Track their “Jason Bourne tool,” while also praising its ability to exonerate those identified by it. It’s an incredibly dark, canny way to get around limitations on their ability to use facial recognition tracking systems, simply by providing something very much like it, that isn’t precisely biometric data. By going around that loophole, Signal equips police departments and federal law enforcement agencies with the unencumbered opportunity to conduct surveillance that’s been legislated against in all but the precise letter of the law. And surveillance, it’s worth noting, that might be even more harmful or detrimental than facial recognition itself.

It’s entirely possible that people who wear certain kinds of clothing or look a certain way can be caught up by Track. And this is in a world where we already know people have been falsely accused of theft, falsely arrested, or falsely jailed, all thanks to facial recognition technology.

Or as American Civil Liberties Union lawyer Nathan Wessler told MIT Tech Review: “It creates a categorically new scale and nature of privacy invasion and potential for abuse that was literally not possible any time before in human history.”

Looks like they’re gonna have to find another name for the big map.

More on Facial Recognition: Years After Promising to Stop Facial Recognition Work, Meta Has a Devious New Plan

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Mike Posner Reclaims The Dancefloor With “Cooler Than Me” Remix Pack

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15 years after telling the world off with a synth hook and smirk, Mike Posner is back to prove his breakthrough debut single still runs the dancefloor. Armed with five heavy-hitting reworks and a brand-new vocal from Posner himself, Dim Mak Records has released a remix pack to breathe new life into “Cooler Than Me.”

The timing is no accident. Posner is set to make a high-profile appearance at EDC Las Vegas this weekend, and the EP, dubbed Headliner Remix Pack, sets the stage with ample firepower. Notably, it’s also the first of three planned remix projects the artist will be releasing in partnership with Steve Aoki’s storied label.

For Posner, whose crossover appeal crystallized with SeeB’s hit remix of “I Took A Pill in Ibiza” back in 2015, the remix bundle is a return to his roots with renewed perspective. “Cooler Than Me” was both his debut single and breakthrough, breaching the top 10 on the Billboard Hot 100 and reaching multi-Platinum status worldwide. 

The new remixes span a range of textures and tones, each transforming the original into something entirely its own. Deorro delivers a maximum-impact mainstage rework while Daniel Allan pulls the track into a UK garage groove, tightening the rhythm into a kinetic bounce.

Getter, making a rare return to electronic music production, brings snarling basslines and mechanical grit. 4B crashes through with trap artillery while NIIKO x SWAE slow it down with a smoother, deep house gloss that simmers beneath Posner’s re-sung vocal.

You can listen to Posner’s Headliner Remix Pack below and find the new release on streaming platforms here.

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