Latest news with #Adrenaline
Hamilton Spectator
11-06-2025
- Entertainment
- Hamilton Spectator
Is it art, or is it stealing work? Album cover designers stare down an AI future
TORONTO - Finger Eleven guitarist James Black has picked up a new instrument, one that pushes the boundaries of his visual imagination — generative artificial intelligence technology. The Toronto musician and graphic artist admits it's a controversial choice, but over the past year, he's been using the tool to help design his band's new album covers. Each one showcases grand concepts, stunning imagery and ultimately a piece of art that demands attention in an era where all musicians are jostling to stand out. 'We're in the blockbuster age where people like to see big, big things,' Black says from his office. 'Whenever I have an idea, it's usually something beyond what we have the resources to do, and AI means you don't have to put a lid on those ideas.' His work usually starts with typing a few descriptive words into AI software and collecting the images it spits back out. Then, he uses photo editing to fine-tune his favourites so they fit his original vision. Sometimes, he submits those altered images back into the AI to generate more ideas. 'There's quite a bit of back-and-forth where you're applying your own skill and then putting it back in,' he said. 'It's a little bit like arguing with a robot. You have to nuance it into doing what you want.' One of his first experiments was the cover artwork for Finger Eleven's 2024 single 'Adrenaline.' The illustration shows a curvaceous woman in a skin-tight red-and-white-racing suit, her head concealed under a motorcycle helmet. She's standing in the middle of a racetrack with her back to the viewer. A cloudy blue sky imparts an otherworldly calm. Anyone who's seen recent AI artwork will probably recognize the hyperrealistic sheen of its esthetic. Other familiar AI trademarks are there too, including a landscape firmly rooted in a dream world. Generative image models are trained on billions of photographs to learn patterns, such as recurring shapes and styles. They then use that information to construct images that can often seem familiar. Many fear that the tools also draw from copyrighted pieces without permission from their creators. It's a legal quagmire that only skirts the surface of the ethical debate around generative AI models. Beyond the copyright risks, critics fear the technology will cost album cover designers and photographers their jobs. But AI programs such as NightCafe, CoPilot and Adobe Firefly offer cutting-edge possibilities that many artists say they can't ignore. Still, Black said he understands there are ethical concerns. 'I'm definitely torn myself,' he said. 'But I'm using it because it extends as far as my imagination can go.' Other musicians have found that generative AI answers the demands of a streaming industry that pressures them to churn out new music, eye-catching lyric videos and other visual elements regularly. But some fan bases aren't sympathetic to those reasons. Last year, Tears for Fears was slammed on social media after they revealed the cover of their live album 'Songs for a Nervous Planet,' which had several familiar AI image traits. The illustration shows an astronaut staring straight at the viewer, their face concealed under a space helmet. They're standing in the middle of a field of sunflowers that stretches into the distance. A cloudy blue sky imparts otherworldly calm. The cover's creator, Vitalie Burcovschi, described it as 'art created by AI using human imagination.' But fans were quick to accuse the band of using AI that might have scraped copyrighted work. As blowback intensified, the English duo released a statement calling it 'a mixed media digital collage, with AI being just one of the many tools used.' Pop singer Kesha encountered similar flak for the cover of her 2024 single 'Delusional,' which featured a pile of Hermés Birkin bags with the song's name spray-painted across them. Fans instantly recognized common flaws of an AI-created image: misspellings in the song's title, sloppy digital fragments. Some demanded she redo the artwork with paid photographers. It took months, but the singer replaced the image with a photograph of herself tied to a chair. She assured fans it was created with an 'incredible team of humans.' 'AI is a Pandora's box that we as a society have collectively opened, and I think it's important that we keep human ramifications in mind as we learn how to use it as a tool and not as a replacement,' she said in an Instagram post in May. Illustrator and musician Keenan Gregory of the band Forester says he used AI technology to extend the background of an old photograph so it could fit on the cover of the band's upcoming EP. The original image for 'Young Guns' was taken in the 1940s as a vertical photograph and showed bass player Dylan Brulotte's grandfather strolling through the streets of Edmonton. Gregory needed a square shape for the album cover, so he put the shot into Photoshop's generative AI tool, which artificially extended the frame's left and right edges with more detail. He removed certain background elements, like storefront signs, with a blend of traditional photo editing techniques. 'Typically, an artist would have to do that manually,' he said. 'But having AI provide you with options, which you then edit, is very powerful.' Gregory said he considers AI one of a photo editor's many tools, adding he didn't use it to make the cover for Royal Tusk's 'Altruistic,' which earlier this year won him a Juno Award for best album artwork. Even when musicians are transparent about using AI, some fans are not ready to embrace it, as British Columbia rock band Unleash the Archers learned last year. Vocalist Brittney Slayes said their concept album 'Phantoma' told the story of an AI gaining sentience and escaping into the real world in the body of an android. To explore the album's theme, Slayes said some of her songwriting drew inspiration from ChatGPT suggestions, while they used visual AI programs to create inspiration images for songs. She said the band also filmed a music video for 'Green & Glass' and then fed the finished product into an AI model trained on artwork by Bo Bradshaw — the illustrator for the band's merchandise. It spat out an AI-animated version of the video. 'We paid to license all of his artwork ... so he was compensated and he was credited,' she said. But the reaction was swift. Some listeners accused the band of theft, alleging that despite paying for Bradshaw's work, the AI tool likely used other unlicensed art to fill out the visuals. 'We didn't realize that even though our model was trained after one artist, the program was going to fill in the blanks with others,' Slayes said. 'People didn't care. The second the word 'AI' was used, we were targeted. You know, the usual Twitter uproar, being like scraped across the internet as these terrible people that use AI in their music.' Unleash the Archers responded on their socials, issuing a statement acknowledging they had unintentionally implied their video featured original artwork by Bradshaw when it was actually produced through an AI program without his direct involvement. Their statement recognized how fraught the risks are for bands eager to explore new technology, saying that 'while we were expecting some controversy, we weren't expecting as much as we got.' Slayes said the backlash has forever sullied her connection to the album, which she originally intended as an exploration of an inevitable AI future. Instead, to her, it's become a reminder of how fast-developing AI technology is provoking deep-rooted anxieties. 'People are still afraid of it,' she said. 'And for good reason, because it is taking jobs.' For other artists, she urges them to think carefully about how they introduce AI into their own projects: 'If you're going to use AI for your artwork, you've got to have a really good reason.' This report by The Canadian Press was first published June 10, 2025.
Winnipeg Free Press
10-06-2025
- Entertainment
- Winnipeg Free Press
Is it art, or is it stealing work? Album cover designers stare down an AI future
TORONTO – Finger Eleven guitarist James Black has picked up a new instrument, one that pushes the boundaries of his visual imagination — generative artificial intelligence technology. The Toronto musician and graphic artist admits it's a controversial choice, but over the past year, he's been using the tool to help design his band's new album covers. Each one showcases grand concepts, stunning imagery and ultimately a piece of art that demands attention in an era where all musicians are jostling to stand out. 'We're in the blockbuster age where people like to see big, big things,' Black says from his office. 'Whenever I have an idea, it's usually something beyond what we have the resources to do, and AI means you don't have to put a lid on those ideas.' His work usually starts with typing a few descriptive words into AI software and collecting the images it spits back out. Then, he uses photo editing to fine-tune his favourites so they fit his original vision. Sometimes, he submits those altered images back into the AI to generate more ideas. 'There's quite a bit of back-and-forth where you're applying your own skill and then putting it back in,' he said. 'It's a little bit like arguing with a robot. You have to nuance it into doing what you want.' One of his first experiments was the cover artwork for Finger Eleven's 2024 single 'Adrenaline.' The illustration shows a curvaceous woman in a skin-tight red-and-white-racing suit, her head concealed under a motorcycle helmet. She's standing in the middle of a racetrack with her back to the viewer. A cloudy blue sky imparts an otherworldly calm. Anyone who's seen recent AI artwork will probably recognize the hyperrealistic sheen of its esthetic. Other familiar AI trademarks are there too, including a landscape firmly rooted in a dream world. Generative image models are trained on billions of photographs to learn patterns, such as recurring shapes and styles. They then use that information to construct images that can often seem familiar. Many fear that the tools also draw from copyrighted pieces without permission from their creators. It's a legal quagmire that only skirts the surface of the ethical debate around generative AI models. Beyond the copyright risks, critics fear the technology will cost album cover designers and photographers their jobs. But AI programs such as NightCafe, CoPilot and Adobe Firefly offer cutting-edge possibilities that many artists say they can't ignore. Still, Black said he understands there are ethical concerns. 'I'm definitely torn myself,' he said. 'But I'm using it because it extends as far as my imagination can go.' Other musicians have found that generative AI answers the demands of a streaming industry that pressures them to churn out new music, eye-catching lyric videos and other visual elements regularly. But some fan bases aren't sympathetic to those reasons. Last year, Tears for Fears was slammed on social media after they revealed the cover of their live album 'Songs for a Nervous Planet,' which had several familiar AI image traits. The illustration shows an astronaut staring straight at the viewer, their face concealed under a space helmet. They're standing in the middle of a field of sunflowers that stretches into the distance. A cloudy blue sky imparts otherworldly calm. The cover's creator, Vitalie Burcovschi, described it as 'art created by AI using human imagination.' But fans were quick to accuse the band of using AI that might have scraped copyrighted work. As blowback intensified, the English duo released a statement calling it 'a mixed media digital collage, with AI being just one of the many tools used.' Pop singer Kesha encountered similar flak for the cover of her 2024 single 'Delusional,' which featured a pile of Hermés Birkin bags with the song's name spray-painted across them. Fans instantly recognized common flaws of an AI-created image: misspellings in the song's title, sloppy digital fragments. Some demanded she redo the artwork with paid photographers. It took months, but the singer replaced the image with a photograph of herself tied to a chair. She assured fans it was created with an 'incredible team of humans.' 'AI is a Pandora's box that we as a society have collectively opened, and I think it's important that we keep human ramifications in mind as we learn how to use it as a tool and not as a replacement,' she said in an Instagram post in May. Illustrator and musician Keenan Gregory of the band Forester says he used AI technology to extend the background of an old photograph so it could fit on the cover of the band's upcoming EP. The original image for 'Young Guns' was taken in the 1940s as a vertical photograph and showed bass player Dylan Brulotte's grandfather strolling through the streets of Edmonton. Gregory needed a square shape for the album cover, so he put the shot into Photoshop's generative AI tool, which artificially extended the frame's left and right edges with more detail. He removed certain background elements, like storefront signs, with a blend of traditional photo editing techniques. 'Typically, an artist would have to do that manually,' he said. 'But having AI provide you with options, which you then edit, is very powerful.' Gregory said he considers AI one of a photo editor's many tools, adding he didn't use it to make the cover for Royal Tusk's 'Altruistic,' which earlier this year won him a Juno Award for best album artwork. Even when musicians are transparent about using AI, some fans are not ready to embrace it, as British Columbia rock band Unleash the Archers learned last year. Vocalist Brittney Slayes said their concept album 'Phantoma' told the story of an AI gaining sentience and escaping into the real world in the body of an android. To explore the album's theme, Slayes said some of her songwriting drew inspiration from ChatGPT suggestions, while they used visual AI programs to create inspiration images for songs. She said the band also filmed a music video for 'Green & Glass' and then fed the finished product into an AI model trained on artwork by Bo Bradshaw — the illustrator for the band's merchandise. It spat out an AI-animated version of the video. 'We paid to license all of his artwork … so he was compensated and he was credited,' she said. But the reaction was swift. Some listeners accused the band of theft, alleging that despite paying for Bradshaw's work, the AI tool likely used other unlicensed art to fill out the visuals. 'We didn't realize that even though our model was trained after one artist, the program was going to fill in the blanks with others,' Slayes said. 'People didn't care. The second the word 'AI' was used, we were targeted. You know, the usual Twitter uproar, being like scraped across the internet as these terrible people that use AI in their music.' Unleash the Archers responded on their socials, issuing a statement acknowledging they had unintentionally implied their video featured original artwork by Bradshaw when it was actually produced through an AI program without his direct involvement. Their statement recognized how fraught the risks are for bands eager to explore new technology, saying that 'while we were expecting some controversy, we weren't expecting as much as we got.' Wednesdays Columnist Jen Zoratti looks at what's next in arts, life and pop culture. Slayes said the backlash has forever sullied her connection to the album, which she originally intended as an exploration of an inevitable AI future. Instead, to her, it's become a reminder of how fast-developing AI technology is provoking deep-rooted anxieties. 'People are still afraid of it,' she said. 'And for good reason, because it is taking jobs.' For other artists, she urges them to think carefully about how they introduce AI into their own projects: 'If you're going to use AI for your artwork, you've got to have a really good reason.' This report by The Canadian Press was first published June 10, 2025.
Hype Malaysia
01-06-2025
- Entertainment
- Hype Malaysia
Concert Review: K-POP Masterz 2025 Brings ATEEZ & Cravity To Malaysia For The First Time
On the last day of May, KPOP Masterz 2025 brought two beloved bands to Malaysia for the first time, and the result was nothing short of spectacular. Held in Kuala Lumpur, the concert featured powerhouse performers ATEEZ (에이티즈) and rising stars CRAVITY (에이티즈). As the lights dimmed and the opening beats dropped, the atmosphere surged with excitement, setting the stage for a night filled with energy, emotion, and world-class performances. Taking place on 31st May (Saturday), the performance was held at the Mines International Exhibition & Convention Centre (MIECC). Kicking off the night, CRAVITY opened with their electrifying track 'VENI VIDI VICI', instantly igniting the crowd. The venue erupted with cheers and a wave of glowing lightsticks, creating an unforgettable scene that set the tone for the rest of the evening. CRAVITY The moment the lights went out, the venue burst into cheers as fans eagerly waited to see which band would appear first. Blue LEDs swept across the arena, and when CRAVITY's name lit up the screen, the energy soared. One by one, the members were introduced on screen before jumping straight into their hit song 'VENI VIDI VICI', kicking things off with sharp choreography that grabbed everyone's attention. Without missing a beat, CRAVITY transitioned into 'Love or Die'. The audience roared even louder, waving their lightsticks in rhythm with the music. The stunning lights and immersive atmosphere blended seamlessly with the sound, leaving us in awe throughout the entire performance. Even while executing intricate choreography, the members showcased breathtaking vocals, proving their talent and professionalism on every level. After the first two performances, MC Hani Fazdil took the stage to officially introduce the evening's hosts. Each CRAVITY member reintroduced themselves, expressing their surprise at how loud the fans had been, even before the group appeared, proving just how strong Malaysia's love for them truly is. The members then walked to the centre stage, smiling and waving to the audience all around. Before diving into the night's interactive segment, they reignited the crowd's energy with another fan favourite, 'Adrenaline'. To keep the momentum going, the organisers introduced a few games for the members to play. The group entertained the audience while competing in lighthearted challenges. As a playful punishment, three losing members walked down the centre stage, drawing cheers and laughter from the crowd. CRAVITY then wrapped up their set with strong performances of 'My Turn', 'C'est La Vie', and 'Now or Never'. They closed the night with their explosive track 'Break All the Rules', after wishing everyone a warm and joyful 'Happy Raya Holiday.' ATEEZ With the first hour flying by, you might expect the audience to start cooling down, but that was far from the case. The moment bold red LEDs lit up the hall and ATEEZ's name appeared on the screen, the venue erupted in deafening cheers and screams. They kicked off their set with 'Guerrilla', accompanied by flashing red lights and an explosive atmosphere. Fans immediately sang along, echoing the lyrics while the group delivered sharp, synchronised choreography. The performance shook the entire venue with its powerful beats. ATINYs responded with full force, their voices rising to match the energy of the performance. ATEEZ showcased their vocal range and stage presence, flawlessly balancing intense choreography with soaring vocals. After formally introducing themselves to the crowd, they launched into 'Say My Name'. With every beat drop, fans screamed their biases' names, filling the room with unrelenting passion and love. Next up was the fan-favourite track, 'The Real', and the energy in the venue instantly skyrocketed. Each time the beat dropped, confetti burst from the stage, adding to the explosive atmosphere. Near the end of the performance, ATEEZ member Wooyoung (우영) broke into an impressive dance solo, drawing loud cheers from the crowd. Following the high-energy performance, the group took a brief break for a fun Q&A session, offering fans a more personal moment. They then moved to the centre stage and kept the momentum going with powerful performances of 'Ice on My Teeth' and 'Desire'. Afterwards, they engaged in short games with the audience, deepening their connection with ATINYs and expressing their gratitude. As the night drew to a close, the members began their heartfelt farewells. To show their love, they performed 'Turbulence' as purple confetti floated through the air, creating a warm and emotional atmosphere. Finally, ATEEZ ended the night on a high with two explosive closing songs: 'Work' and 'Bouncy'. This event marked the first time either band had performed in Malaysia. Malaysian LUVITYs and ATINYs made sure to prove just how loud and passionate they could be, hoping it won't be long before the groups return. The night perfectly showcased the contrast and balance between CRAVITY's youthful charm and ATEEZ's powerful stage presence. Together, they created a dynamic energy that made the entire concert unforgettable for everyone in attendance. Zaima Humaira contributed to this article. What's your Reaction? +1 0 +1 0 +1 0 +1 0 +1 0 +1 0
Hindustan Times
07-05-2025
- Health
- Hindustan Times
KDMC takes strict action against indicted staff after woman patient dies due to ambulance delay
Thane, A preliminary probe into the death of a critically-ill woman patient at a civic hospital in Thane district has indicted some members of staff and ambulance drivers for serious lapses and delay in medical treatment. KDMC takes strict action against indicted staff after woman patient dies due to ambulance delay Two days after Savita Birajdar died at the Rukminibai Hospital in Kalyan East, Kalyan Dombivli Municipal Corporation has issued show-cause notices and either suspended or relieved from duty the staff indicted in the inquiry, a release stated on Wednesday night. Birajdar, who suffered a paralytic stroke and brain haemorrhage, died on Monday, apparently after an ambulance driver didn't act swiftly to shift her to another hospital, her family members alleged on Tuesday. The patient was made to wait for nearly five hours at the hospital due to the reluctance of the ambulance driver, they claimed. In the wake of the incident, KDMC Commissioner Abhinav Goyal issued show-cause notices to the hospital's doctors, nurses, ambulance drivers, and administrative staff. "It is deeply unfortunate that a woman lost her life in a municipal hospital due to the lack of basic ambulance services," he said. According to a late-night press release issued by KDMC Additional Commissioner Harshal Gaikwad, a preliminary enquiry by the Medical Health Department concluded that serious lapses by hospital staff and ambulance drivers directly contributed to the delay in medical treatment and the patient's death on May 5. Contracted doctor Dr. Umesh Patel had examined the patient and referred her to a specialist physician Dr. Nishikant Sharma, who advised immediate neurologist consultation at either KEM Hospital or Chhatrapati Shivaji Maharaj Hospital . A written referral was issued by 2 PM , and her family was asked to arrange an ambulance. Despite this, the ambulance service was delayed until 3:10 PM. During the transfer, her health deteriorated, forcing staff to bring her back to the casualty ward, the KDMC stated. "The ambulance driver, Maruti Nikam, left to refill diesel during the crisis. Upon re-examination of the patient, doctors could not detect a pulse or blood pressure. Cardiopulmonary resuscitation , oxygen, and emergency injections like Atropine and Adrenaline were administered, but Savita was declared dead at 3:45 PM, it stated. The inquiry report indicted drivers Harishchandra Yeshwantrao and Pramod Lasure for delaying the shifting the patient. Driver Maruti Nikam took the ambulance for fuel without authorisation, it said. Nurse Namita Bhoye and Sister-in-Charge Jayshree Raikar failed to escalate the matter to the Chief Medical Officer, whereas Dr. Patel did not follow up on the referral or notify higher medical authorities. The KDMC suspended Raikar and drivers Nikam, Lasure, and Yeshwantrao, while relieving contractual doctor Umesh Patel and nurse Namita Bhoye from duty. Show Cause notices were issued to the Chief Medical Officer and Medical Health Officer of Rukminibai Hospital. Earlier in the day, civic commissioner Goel paid a surprise visit to the hospital in the morning and reviewed the functioning. Disguised as a regular patient, he inspected the Outpatient Department , checked staff attendance, and found that the OPD had not started on time, the KDMC stated. He has issued fresh directives, including mandatory biometric attendance tied to salary, digital inventory system for medicines, immediate commencement of gynaecology and maternity OPDs, weekly surprise inspections, and disciplinary action for future delays. The death of the woman patient triggered public outrage. Political leaders visited the hospital and the municipal headquarters, demanding immediate action against those responsible for the administrative lapses. This article was generated from an automated news agency feed without modifications to text.
BBC News
04-05-2025
- Entertainment
- BBC News
Young photographer moved to Cambridge to pursue career
A teenager who started his own online music magazine said the pandemic helped give him the confidence to do things for Horne, 18, moved from Dunfermline to Cambridge in search of more opportunities to work as a music photographer. Now, less than a year later, he has snapped musicians such as Raye, Teddy Swims and McFly at their Horne, who shares his works in his magazine called Adrenaline, hoped to help more young people gain experience and insight into the industry. Mr Horne said there was "no real kind of help, guide or information" for young music photographers. Alongside working on Adrenaline, he said he wanted to build on his skills and decided to move to study photography at Anglia Ruskin University in Cambridge. While taking on university, he began to message venues in and around London for opportunities to photograph artists, for free, at concerts. "It's one of these things were you try to be as proactive as possible," he said. "A case of building on your experiences and making sure that supports there for other people. "There's no real information out there for music photographers. It's almost like an exclusive club, you're doing it all yourself." The 18-year-old said he developed his affinity for music photography during the Covid pandemic. It was one of the first times he sat down and "properly listened to music", he said. During that time, Mr Horne had been physically out of school for longer than his classmates as his family had started shielding before the first national lockdown."It was definitely an experience. You could say that's what made me do things myself."I would do a lot of self-learning, a lot of being sat by myself reading a textbook... just to catch up and get there and I did."I'm so happy that I did but I think it's given me that kind of push to go for it and that confidence."Speaking about the magazine, Mr Horne said he and the volunteer contributors had learned a lot from each other and it was "exciting to offer opportunities to people". "The biggest advice ever I can give to anybody it would just be to just ask," he said. "The worst thing they can say is no... if you don't get it, then it's a shame, but you just move on to the next thing." Follow Cambridgeshire news on BBC Sounds, Facebook, Instagram and X.
