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With Rihanna looking on, ASAP Rocky accuser describes alleged Hollywood shooting

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With Rihanna looking on, ASAP Rocky accuser describes alleged Hollywood shooting

Rihanna made her first appearance in court during ASAP Rocky’s assault trial Wednesday, with the singer seated in the gallery as the downtown Los Angeles court heard key testimony about an alleged shooting that could send her rap star partner to prison for nearly 20 years.

On the witness stand was Terell Ephron, a.k.a. ASAP Relli, a co-founder of ASAP Mob, the Harlem rap collective that helped launch Rocky’s career. Ephron testified that he met up with Rocky, whose legal name is Rakim Mayers, in Hollywood on Nov. 6, 2021, in the hopes of fixing their broken friendship.

Ephron said the two had drifted apart as Mayers’ star rose and the other members of the crew struggled to find success. Aside from Mayers, most members of the ASAP crew are now “broke or bums,” Ephron previously testified.

“I call him Mr. Six Month Man, cause I’d see him once every six months … when he’d come around, he was fake. What are we supposed to be in this ASAP thing for?” Ephron asked. “It was all smoke and mirrors.”

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Tensions between the two were high that night, Ephron testified, after he overheard Mayers insulting him on a phone call the day before. Ephron also erroneously believed Mayers had reneged on a promise to pay for the funeral of an ASAP collective member who had died of an overdose.

Ephron said he was hoping to squash the beef with Mayers when they met near the W Hotel on the night of the shooting, but Mayers showed up with two other members of the ASAP crew and immediately sparked a confrontation.

“It was all like a movie … just the way he was walking … the whole thing caught me off guard, like there was no time to talk,” Ephron said.

Prosecutors have accused Mayers of shooting at Ephron, who suffered a graze wound on his hand.

Mayers is charged with two counts of assault with a deadly weapon and faces a sentencing enhancement for using a gun in the alleged crime. Mayers has pleaded not guilty, with lawyers claiming the gun used in the encounter was a music video prop incapable of firing real bullets.

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When Mayers arrived for court around 9:45 a.m., he was flanked by his usual entourage and mobbed by media, but his paramour was nowhere in sight. Rihanna’s presence in court wasn’t confirmed until a little after 10 a.m., when she was spotted by reporters sitting among Mayers’ family dressed in a black pea coat and sporting glasses.

The “Umbrella” singer could be seen watching Ephron’s testimony intently. She is not a witness in the case, though her relationship to Mayers came up during jury selection. L.A. County Superior Court Judge Mark Arnold made no mention of her presence, and it was not clear if jurors were aware she was in court.

Her representatives have not responded to prior requests for comments on the case.

There is video of the confrontation between Mayers and Ephron, but it does not show the full incident.

One clip shows a man in a hooded sweatshirt, who prosecutors and Ephron say is Mayers, grabbing Ephron around the head and neck, then pulling a gun from his waistband. Another shows the shooting from a distance but doesn’t clearly show anyone’s face, though it does capture audio of two loud pops that sound like gunshots.

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Mayers’ defense attorney Joe Tacopina — who is likely to begin cross-examining Ephron on Thursday — has said the weapon was a “prop gun” that only fired blanks.

Ephron said Mayers pointed a gun at his head, face and chest as the two had a screaming match. Ephron insisted he had no intention for things to turn violent, claiming he didn’t want to hurt his old friend or tank his career in the music industry.

“If I fight Rocky … I’m already not liked … so if I’m fighting him I’m definitely getting blackballed. All the labels like him and work with him,” Ephron said.

The clash was interrupted when a couple walked by, according to Ephron. But just as things seemed to be settling down, Ephron said he saw one of the men Mayers brought with him — Jamel Phillips, a.k.a. ASAP 12vvy — putting away a knife. At that point, Ephron said, he felt betrayed and furious.

“I’m like, oh, hell no. So now I’m walking with them and I’m literally screaming out at the top of my lungs … how Rocky failed us, and how Jamel went on tour with Rocky for 8 or 9 years and he’s back in the projects,” Ephron said. “I knew I would never see this dude again … I probably would have walked away if I hadn’t seen the knife.”

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.

When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.

Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.

The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”

“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”

The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.

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An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.

(Refik Anadol Studio for Dataland)

Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”

“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”

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Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.

Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.

“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”

“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”

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Michael Jackson documentary set to release after massive re-write

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Michael Jackson documentary set to release after massive re-write
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‘Michael’ — a new movie about the King of Pop – is drumming up big buzz. The film was produced in-part by the co-executors of the late singer’s estate, and has some critics questioning whether it is too focused on sanitizing the singer’s troubled image.

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