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The Basquiat Estate To Re-Release Jean-Michel’s “Beat Bop” Single On Vinyl

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JEAN-MICHEL BASQUAIT

Source: THE DROP SHOP / THE BASQUAIT ESTATE / THE DROP SHOP / THE BASQUAIT ESTATE

The legacy of Jean-Michel Basquiat will be brought to life in a special way for Hip-Hop’s 50th anniversary. His estate will be releasing his “Beat Bop” single on vinyl.

Hype Beast is reporting that the late great artist’s music will be available. This week the estate announced it will be dropping his very rare “Beat Bop” song in partnership with The Drop Shop. In 1983 the Haitian and Puerto Rican creative founded Tartown Records Co. and recorded the gritty Rap song which featured an almost 10-minute battle between K-Rob and Rammellzee. In 2013 Profile Records founder Cory Robbins detailed how the record came to be with Spin Magazine. “It didn’t follow any rules. It was long and it didn’t have a hook. It was so free-form. There’s no record like it” he said.

According to the press release the forthcoming sale will feature 50 copies of the original 500 test pressings Jean-Michael Basquiat had created. “The Drop offers 39 of the original 50 copies that remained in Basquiat’s personal collection. All are factory-sealed and come in a numbered, handmade commemorative leather case with a signed certificate issued by the Estate of Jean-Michel Basquiat” it read. “The release marks the first time the Estate has offered any pressings from the artist’s personal collection for sale.”

In the past “Beat Bop” has sold for over $100,000 at auction. The limited-edition vinyl will be available starting November 2 at $4,000.00 each. You can find out more about the drop here. 

Charles Barkley Questions Adam Silver On Domestic Violence In NBA

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2018 NBA Awards - Red Carpet

Source: Kevin Mazur / Getty

NBA Hall of Famer Charles Barkley got straight to the point and asked NBA Commissioner Adam Silver about the league’s stance on domestic violence.

On Tuesday (Oct. 24), Charles Barkley and the rest of the Inside The NBA crew were holding court before the first game of the season between the visiting Los Angeles Lakers and the recent champions, the Denver Nuggets. They were joined by the league’s commissioner, Adam Silver. After a few questions about other issues impacting the league, Barkley made his last question an impactful one.


https://youtube.com/watch?v=QGPQ7h87c4g&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent

“I got a serious question – they’re telling me to go to commercial, but I don’t care,” Charles Barkley began. “There’s a couple of disturbing incidents of domestic violence in the NBA right now. What are we doing to address that? Because you can’t put your hands on women, man. And we should be at the forefront in sports. … So what are we as a league going to do about that?”

The NBA is currently dealing with two highly prominent cases of players alleged to have committed acts of domestic violence. Kevin Porter Jr. was arrested and charged with assaulting his girlfriend, Kyrse Gondrezick in New York last month. After pleading not guilty, Porter was traded by the Houston Rockets to the Oklahoma City Thunder, who released him. Miles Bridges of the Charlotte Hornets is serving a 10-game suspension after pleading no contest to a felony domestic violence charge in June 2022.  Originally given a 30-game suspension by the NBA, 20 games were chopped off as Bridges did not play the entire 2022-2023 season.

Silver responded with a bit of cautious language at first. “Well again, we’re not trying to compete with other leagues when you say “forefront” as I feel that all the other leagues are trying to confront this issue.” He credited the players’ association for their efforts and attention to the issue before continuing with his response to Barkley’s question. 

“We put in place a new program for how we deal with, first of all, accusations of domestic violence even before they’re prosecuted,” Silver said. “Part of it goes to training of our players, counseling of our players to make sure they understand during high-stress situations that, obviously, never resort to violence against anyone. So we’re addressing it. We have, you know, state-of-the-art counseling professionals dealing with our players, but of course, if a guy you know does cross the line, the consequences are enormous.”

Killer Mike Denies Doing Any Business With DJ Envy Buddy Cesar Pina After Old Clip Goes Viral

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Killer Mike

Source: Bernard Smalls / @PhotosByBeanz

Killer Mike is making sure his good name stays clean. The Atlanta rapper has denied doing any business with Cesar Pina after an old clip went viral.

HipHopDX is reporting that the Georgia native is making sure his name is not connected to Cesar Pina in any way. Earlier this week a video of the trapper turned rapper with the real estate entrepreneur from years back. The two are seen standing in front of a housing complex in Atlanta. “I haven’t hijacked or kidnapped DJ Envy — don’t worry, he’ll be back,” the MC quipped. “But I’m with my man Cesar right now. I said, ‘Cesar, you got to show me the gold mines that surround me.’

As expected Cesar chimes in and gets his huckster on. “We got a 28-unit building. Looks like a home run to me. 28 two-bedrooms, town house-style. We see opportunity out here. That’s all we see” he said. Killer Mike added “And we not going to pay a lot of money for it,” with Pina responding “Oh no, that’s key. Under market value.” The Trigger Warning host would go on to say “I’m about to go ride around and look at some more sh*t”.

In the wake of Cesar Pina getting hit with federal charges for allegedly running a multi-million dollar Ponzi scheme the clip resurfaced prompting Mike to clear things up. “A mutual friend told me I should meet him so I did,” he wrote on X, formerly Twitter. “We did no business, I never endorsed him and if u watch the video I just looked at some sh*t he showed me and got outta there.”

You can see the original clip with Killer Mike and Cesar below.

Iced Out Death Row Pendant Could Fetch $1M On Auction Block

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Death Row Chain

Source: Gotta Have Rock and Roll / Gotta Have Rock and Roll

Back during Hip-Hop’s golden era, rappers rocking iced out pieces of their record label’s logo was all the rage as it was considered a badge of honor of sorts. Now some classic diamond pendants are about to hit the auction block and could fetch up to seven digits.

According to Hypebeast, Tupac Shakur and Snoop Dogg’s Death Row Record pendants are up for auction on GottaHaveRockandRoll and are expected to sell for roughly up to $1 million as they are indeed a part of Hip-Hop history. Heck, the robbery of a Death Row pendant is what led to the infamous brawl in Las Vegas that ultimately led to the shooting of Tupac Shakur on Sept. 7, 1996.

Per Hypebeast:

Up for auction at Gotta Have Rock and Roll, the diamond-encrusted pendants were commissioned by Death Row founder Suge Knight and would loan the 14k “Fully Iced” joints for the label’s biggest artists like Snoop and Pac. The pair is expected to fetch somewhere between $500,000 USD to $1 million USD, while the pendants that are partially encrusted could go for $200,000 USD to $500,000 USD.

The pendants come from Death Row’s former head of security Reggie Wright Jr., who is also putting up Pac’s 1996 SNL performance envelope and a personalized ticket, which could sell for $8,000 USD to $12,000 USD.

The bidding has already begun and will come to a close on November 10, in time for the auction house’s celebration of hip-hop’s 50th anniversary.

You have to wonder who’ll be dishing out that kind of cash to own a piece of Hip-Hop history and whether they’ll be placing it in a display case or putting it around their own neck. Either way, these are definitely collectors items at the end of the day so expect someone to put down a King Kong sized grip to own it.

Would you put up that kind of cash to own a diamond OG Death Row piece? Let us know in the comments section below.

Cher’s ‘Christmas’ Debuts at No. 1 on Billboard’s Top Holiday Albums Chart

Billboard’s Top Holiday Albums chart returns for the 2023 holiday season, with Cher’s Christmas album debuting atop the tally (dated Nov. 4). It’s the pop superstar’s first holiday collection. The 13-song set has a blend of classic tunes and newly written tracks, and boasts a starry lineup of guests in Michael Bublé, Cyndi Lauper, Darlene Love, Tyga and Stevie Wonder.

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The new Nov. 4-dated chart will be posted in full on Billboard‘s website on Oct. 31.

The Top Holiday Albums chart will continue to be published on a weekly basis through early January of 2024, when it will dash away until the next holiday season. (The chart generally returns to Billboard’s weekly chart menu every October.)

The Top Holiday Albums chart ranks the 50 most popular seasonal albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each units equals one album sales, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Cher’s Christmas earned 21,000 equivalent album units in the U.S. in the week ending Oct. 26, according to Luminate. Of that sum, album sales comprised 20,000, SEA units comprised a little under 1,000 and TEA units comprised the remaining negligible sum. The album was available to purchase as a digital download album and in four different CD variants (each with alternative cover art). A vinyl LP, on ruby red-colored vinyl, is scheduled for release on Nov. 17.

Cher also makes waves on the all-genre Billboard 200 chart, where Christmas bows at No. 32, marking her 14th solo top 40-charting album on the tally. Further, she becomes only the second woman, and third soloist, with a new top 40-charting albums in the 1960s, ‘70s, ‘80s, ‘90s, 2000s, ’10s and ‘20s. The only other acts to have achieved this feat are Bob Dylan, Barbra Streisand and The Rolling Stones.

The top 10 of the Nov. 4-dated Top Holiday Albums chart is dotted with familiar favorites, as the soundtrack to the Halloween-meets-Christmas film Tim Burton’s The Nightmare Before Christmas is No. 2, Pentatonix’s new The Greatest Christmas Hits debuts at No. 3, Bublé’s Christmas is No. 4 and Vince Guaraldi Trio’s TV soundtrack for A Charlie Brown Christmas is No. 5. The top 10 is rounded out by *NSYNC’s Home for Christmas (No. 6), Mariah Carey’s Merry Christmas (No. 7), Frank Sinatra’s Ultimate Christmas (No. 8), Nat King Cole’s The Christmas Song (No. 9) and Bing Crosby’s Christmas Classics (No. 10).

Among the artists that have new holiday albums dropping later this holiday season (or have recently released a new holiday set in the past month or so): Michael Bolton, Brandy, Jim Brickman, Ally Brooke, Bing Crosby, Jessie James Decker, Seth MacFarlane and Liz Gillies, Samara Joy, Johnny Mathis, My Morning Jacket, Oak Ridge Boys, Jon Pardi, Gregory Porter, Matt Rogers, Michael W. Smith, Straight No Chaser and The Tenors.

Creed Announces 2024 Reunion Tour: See the Dates

After plotting a 2024 reunion with their Summer of ’99 cruise, Creed has announced a 40-city North American tour, which will mark their first time hitting the road together in over a decade.

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The 2024 Summer of ’99 tour, produced by Live Nation, kicks off on July 17, 2024, and will run through Sept. 28. While 3 Doors Down will open the majority of the tour, Daughtry, Switchfoot, Tonic and Big Wreck will join Creed on select dates, and Finger Eleven will open all dates on the reunion run.

“I feel like I’m as strong as I’ve ever been vocally, and looking forward to sharing the stage with the guys again,” says frontman Scott Stapp in a statement. “The fans have clearly let us know they feel it’s long overdue. I want to give them what they deserve. I’m ready to bring it.”

In the middle of the tour, Creed will head to San Bernardino, Calif. to top the bill of the inaugural Summer of ’99 and Beyond Festival, which will corral the openers on various legs of the tour and welcome a few other special guests. 3 Doors Down, Daughtry, Finger Eleven, Fuel, Vertical Horizon, The Verve Pipe will join Creed on Aug. 31 at San Bernadino’s Glen Helen Amphitheatre.

“Summer of ‘99 and Beyond Festival in San Bernardino is going to be so special for all of us,” says guitarist Mark Tremonti. “It is giving us a chance to bring performances from the cruises and tour together in one location. That show is going to be a highlight for us next year.”

In July, Creed announced their first shows together in 12 years as headliners of the Summer of ’99 cruise, setting sail from April 18-22, 2024. The band added a second cruise the following weekend, and both trips are sold out.

Stapp, Tremonti, Brian Marshall and Scott Phillips stopped touring together in 2012, after scoring smashes like “One,” “Higher,” “With Arms Wide Open” and “My Sacrifice”; their 1999 sophomore album, Human Clay, has sold 11.7 million copies to date, according to Luminate. In addition to the Creed reunion, Tremonti recently released a holiday album, Christmas Classics New & Old, and Stapp’s fourth solo album, Higher Power, will be released in March 2024.

Check out Creed’s North American tour dates below:

Supporting Acts: + 3 Doors Down | ^ Daughtry | * Switchfoot | x Tonic | # Big Wreck | = Finger Eleven

Wednesday, July 17 | Green Bay, WI | Resch Center * =
Friday, July 19 | Monticello, IA | Great Jones County Fair * = (Not A Live Nation Date)
Saturday, July 20 | Walker, MN | Moondance Jam * = (Not A Live Nation Date)
Tuesday, July 23 | Simpsonville, SC | CCNB Amphitheatre at Heritage Park * =
Wednesday, July 24 | Charlotte, NC | PNC Music Pavilion + =
Friday, July 26 | Bristow, VA | Jiffy Lube Live + =
Saturday, July 27 | Virginia Beach, VA | Veterans United Home Loans Amphitheater at Virginia Beach + =
Tuesday, July 30 | Toronto, ON | Budweiser Stage # =
Wednesday, July 31 | Clarkston, MI | Pine Knob Music Theatre + =
Friday, August 2 | Cincinnati, OH | Riverbend Music Center + =
Saturday, August 3 | Burgettstown, PA | The Pavilion at Star Lake + =
Tuesday, August 6 | Bridgeport, CT | Hartford HealthCare Amphitheater x =
Wednesday, August 7| Holmdel, NJ | PNC Bank Arts Center + =
Friday, August 9 | St. Louis, MO | Hollywood Casino Amphitheatre – St. Louis, MO + =
Saturday, August 10 | Indianapolis, IN | Ruoff Music Center + =
Tuesday, August 13 | Nashville, TN | Ascend Amphitheater x =
Wednesday, August 14 | Pelham, AL | Oak Mountain Amphitheatre + =
Saturday, August 16 | Tinley Park, IL | Credit Union 1 Amphitheatre + =
Saturday, August 17 | Welch, MN | Treasure Island Amphitheater + = (Not A Live Nation Date)
Tuesday, August 20 | Gilford, NH | BankNH Pavilion x =
Wednesday, August 21 | Boston, MA | Xfinity Center + =
Friday, August 23 | Hershey, PA | Hersheypark Stadium + =
Saturday, August 24 | Saratoga Springs, NY | Broadview Stage at SPAC + =
Saturday, August 31 | San Bernardino, CA | Glen Helen Amphitheatre (Summer of ’99 And Beyond Festival with 3 Doors Down, Daughtry, Finger Eleven, Fuel, Vertical Horizon, The Verve Pipe)
Sunday, September 1 | Wheatland, CA | Toyota Amphitheatre + =
Wednesday, September 4 | Phoenix, AZ | Talking Stick Resort Amphitheatre + =
Friday, September 6 | Salt Lake City, UT | USANA Amphitheatre + =
Saturday, September 7 | Denver, CO | Fiddler’s Green Amphitheatre + = (Not A Live Nation Date)
Tuesday, September 10 | Rogers, AR | Walmart AMP ^ =
Wednesday, September 11 | Dallas, TX | Dos Equis Pavilion + =
Friday, September 13 | San Antonio, TX | Frost Bank Center + =
Saturday, September 14 | Houston, TX | The Cynthia Woods Mitchell Pavilion presented by Huntsman + =
Monday, September 16 | Brandon, MS | Brandon Amphitheater ^ =
Wednesday, September 18| Raleigh, NC | Coastal Credit Union Music Park at Walnut Creek + =
Friday, September 20 | Tampa, FL | MIDFLORIDA Credit Union Amphitheatre at the FL State Fairgrounds + =
Saturday, September 21 | West Palm Beach, FL | iTHINK Financial Amphitheatre + =
Tuesday, September 24 | Jacksonville, FL | Daily’s Place x =
Wednesday, September 25 | Alpharetta, GA | Ameris Bank Amphitheatre + =
Friday, September 27 | Darien Lake, NY | Darien Lake Amphitheater + =
Saturday, September 28 | Atlantic City, NJ | Hard Rock Live at Etess Arena + =

Former NBA Star Joe Smith Discovers Wife Has Secret OnlyFans Page

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Joe Smith is a name some basketball fans should remember, considering he was the top overall pick in the 1995 NBA Draft. The former University of Maryland star found himself trending on social media this morning after a video surfaced of him having an argument with his wife after discovering she has an OnlyFans page.

By way of TikTok user @kevinwesleygenie, a video featuring Joe Smith and his wife Kisha Chavis having a spirited discussion about her launching an OnlyFans page. Some might remember Chavis from the reality series Say Yes To The Dress where she went by the name Kisha “Kiss” Chavis.

Online sleuths also reminded the world that Ms. Chavis used to be a former adult film actress under the name Yasmine Pendavis. From what we were able to gather online, the OnlyFans account is under the name Kyss Major, a name she also used during her music career.

In a social media world where clout chasing seemingly is a goal for many, we’re not sure if this is another elaborate skit meant to drum up another war between the genders or a real concern. And let’s say it’s the latter, online onlookers having this much access to the Smiths’ marital woes and then commenting on it seems like a lot. Before you say it, we’re reporting on this matter because we have a job to inform the public and nothing more.

Back to the matter at hand, if this is a skit, Smith is a really great actor and has a career in entertainment if coaching basketball is no longer his passion because the brother appeared to be quite upset. Chavis was unapologetic, telling her husband at one point that, quote, “you know who I was” prior to their marriage.

As it stands, it seems like the hard times that Joe Smith fell on after losing his combined $61 million in NBA earnings sparked Kisha Chavis to take matters into her own hands and get some easy cash. To shoot her some bail, Chavis says she’s only shooting solo content and isn’t doing anything too outlandish. Good luck on that one.

Check out some of the reactions from X to the situation below.

Photo: Getty

Labels Want to Prevent ‘Taylor’s Version’-Like Re-Recordings From Ever Happening Again

While Taylor Swift has been racking up billions of streams with updated “Taylor’s Version” re-recordings of her original hits over the past couple years, making cultural moments out of old material and simultaneously driving down the value of those original recordings that were sold away from her, record companies have been working to prohibit this sort of thing from happening again.

The major labels, Universal Music Group, Sony Music Entertainment and Warner Music Group, have recently overhauled contracts for new signees, according to top music attorneys, some demanding artists wait an unprecedented 10, 15 or even 30 years to re-record releases after departing their record companies. “The first time I saw it, I tried to get rid of it entirely,” says Josh Karp, a veteran attorney, who has viewed the new restrictions in UMG contracts. “I was just like, ‘What is this? This is strange. Why would we agree to further restrictions than we’ve agreed to in the past with the same label?’”

For decades, standard major-label recording contracts stated artists had to wait for the latter of two periods to expire before they could put out re-recorded versions, Swift-style: It could have been five to seven years from the release date of the original, or two years after the contract expired. Today, attorneys are receiving label contracts that expand that period to 10 or 15 years or more — and the attorneys are pushing back. “It becomes one of a multitude of items you’re fighting,” Karp says.

“I recently did a deal with a very big indie that had a 30-year re-record restriction in it. Which obviously is much longer than I’m used to seeing,” adds Gandhar Savur, attorney for Cigarettes After Sex, Built to Spill and Jeff Rosenstock. “I think the majors are also trying to expand their re-record restrictions but in a more measured way — they are generally not yet able to get away with making such extreme changes.”

Until June 2019, when Swift announced she would re-record her first six albums, the concept of drawing fans to new versions of old songs was a music-business niche. Frank Sinatra rerecorded a number of his biggest hits in the ’60s, but in recent years, new Def Leppard and Squeeze versions had minimal commercial success. But after venture capitalist and longtime Justin Bieber manager Scooter Braun purchased Swift’s original label, Big Machine Music Group, she failed to re-obtain her original master recordings. The business transaction was personal to Swift — she has accused Braun of “incessant, manipulative bullying” — and she encouraged her huge fanbase and sympathetic radio programmers to exclusively play new Taylor’s Versions of Fearless, Red and others.

Suddenly, the concept of re-recording masters has evolved from archaic fine print buried in record deals to a widely scrutinized cause celebre. “Obviously, this is a big headline topic — the Taylor Swift thing,” Savur says. “Labels, of course, are going to want to do whatever they can to address that and to prevent it. But there’s only so much they can do. Artist representatives are going to push back against that, and a certain standard is ingrained in our industry that is not easy to move away from.”

Adds Dina LaPolt, a music attorney with a long history of grappling with labels over contracts: “Now, because of all this Taylor Swift sh–, we have an even new negotiation. It’s awful. We’re seeing a lot of ‘perpetuity’ sh–. When we were negotiating deals with lawyers, before we would get the proposal,, we’d get the phone call from the head of business affairs. We literally would say, ‘If you send that to me, it will be on f—ing Twitter in 10 minutes.’ It never showed up.”

Swift has her own reasons — in addition to dominating the charts and racking up millions of dollars in streaming revenue — for emphasizing her re-recordings. Smaller artists have more modest goals. Alt-rock band Switchfoot recently put out an “Our Version” of its 2003 album The Beautiful Letdown, as frontman Jon Foreman said recently, “for everyone who’s supported us the last 23 years, for everyone who’s sung along with these songs.” After superstar pop-and-R&B trio TLC negotiated a separation agreement from its label, Sony Music, in the early 2000s, Bill Diggins, the band’s manager, negotiated a re-recording clause allowing the group to use hits such as “Waterfalls” and “No Scrubs” for TV and movie synchs. “Anytime you negotiate with a label, it’s a difficult proposition,” he said.

Reps for Universal, Warner and Sony did not respond to requests for comment, but some music attorneys are sympathetic to labels’ concerns about re-recordings. Although “the contracts have gotten reasonably artist-friendly over time,” longtime music attorney Don Passman said recently, “they don’t want you to duplicate your recordings — like ever — and then they will limit the other types of recordings you can do.”

Josh Binder, an attorney who represents SZA, Gunna, Doechii, Marshmello and others, says the Taylor Swift scenario is rare, and most artists never have to exercise their re-recording rights. “It doesn’t offend me so much. Rarely does it come into play where the re-record treatment is even used,” he says. “[The labels’] position is, ‘Hey, if we’re going to spend a bunch of money creating this brand with you, then you should not try and create records to compete with us.’ We try and fight it. We try and make it as short as possible. But I don’t find it to be the most compelling issue to fight.”

Once artists get past the weeds of re-recording restrictions, Binder says, the bigger issue is controlling their master recordings — that was Swift’s primary concern in putting out her new versions, after Braun purchased her catalog from Big Machine. Artists and their attorneys have recently moved towards licensing deals — retaining ownership of their masters and signing with labels to distribute music for a limited period — rather than traditional recording contracts where the label owns everything.

But Ben McLane, an attorney who has worked with dozens of artists, from Donovan and DMX to new label signees such as the Toxhards and We the Commas, says traditional deals remain more common than licensing deals, so battles over new re-recording restrictions still come up.

“I always ask for less. Some labels, at a negotiating point, might be fine with it. It always depends on what your leverage is,” he says. “If you’re an unknown artist, and you really need the deal, the label doesn’t have a lot of motivation to give in on things like that. They’re strict.”

Biden to Sign Sweeping Executive Order to Address AI Concerns

President Joe Biden on Monday will sign a sweeping executive order to guide the development of artificial intelligence — requiring industry to develop safety and security standards, introducing new consumer protections and giving federal agencies an extensive to-do list to oversee the rapidly progressing technology.

The order reflects the government’s effort to shape how AI evolves in a way that can maximize its possibilities and contain its perils. AI has been a source of deep personal interest for Biden, with its potential to affect the economy and national security.

White House chief of staff Jeff Zients recalled Biden giving his staff a directive to move with urgency on the issue, having considered the technology a top priority.

“We can’t move at a normal government pace,” Zients said the Democratic president told him. “We have to move as fast, if not faster than the technology itself.”

In Biden’s view, the government was late to address the risks of social media and now U.S. youth are grappling with related mental health issues. AI has the positive ability to accelerate cancer research, model the impacts of climate change, boost economic output and improve government services among other benefits. But it could also warp basic notions of truth with false images, deepen racial and social inequalities and provide a tool to scammers and criminals.

The order builds on voluntary commitments already made by technology companies. It’s part of a broader strategy that administration officials say also includes congressional legislation and international diplomacy, a sign of the disruptions already caused by the introduction of new AI tools such as ChatGPT that can generate new text, images and sounds.

Using the Defense Production Act, the order will require leading AI developers to share safety test results and other information with the government. The National Institute of Standards and Technology is to create standards to ensure AI tools are safe and secure before public release.

The Commerce Department is to issue guidance to label and watermark AI-generated content to help differentiate between authentic interactions and those generated by software. The order also touches on matters of privacy, civil rights, consumer protections, scientific research and worker rights.

An administration official who previewed the order on a Sunday call with reporters said the to-do lists within the order will be implemented and fulfilled over the range of 90 days to 365 days, with the safety and security items facing the earliest deadlines. The official briefed reporters on condition of anonymity, as required by the White House.

Last Thursday, Biden gathered his aides in the Oval Office to review and finalize the executive order, a 30-minute meeting that stretched to 70 minutes, despite other pressing matters including the mass shooting in Maine, the Israel-Hamas war and the selection of a new House speaker.

Biden was profoundly curious about the technology in the months of meetings that led up to drafting the order. His science advisory council focused on AI at two meetings and his Cabinet discussed it at two meetings. The president also pressed tech executives and civil society advocates about the technology’s capabilities at multiple gatherings.

“He was as impressed and alarmed as anyone,” deputy White House chief of staff Bruce Reed said in an interview. “He saw fake AI images of himself, of his dog. He saw how it can make bad poetry. And he’s seen and heard the incredible and terrifying technology of voice cloning, which can take three seconds of your voice and turn it into an entire fake conversation.”

The possibility of false images and sounds led the president to prioritize the labeling and watermarking of anything produced by AI. Biden also wanted to thwart the risk of older Americans getting a phone call from someone who sounded like a loved one, only to be scammed by an AI tool.

Meetings could go beyond schedule, with Biden telling civil society advocates in a ballroom of San Francisco’s Fairmont Hotel in June: “This is important. Take as long as you need.”

The president also talked with scientists and saw the upside that AI created if harnessed for good. He listened to a Nobel Prize-winning physicist talk about how AI could explain the origins of the universe. Another scientist showed how AI could model extreme weather like 100-year floods, as the past data used to assess these events has lost its accuracy because of climate change.

The issue of AI was seemingly inescapable for Biden. At Camp David one weekend, he relaxed by watching the Tom Cruise film “Mission: Impossible — Dead Reckoning Part One.” The film’s villain is a sentient and rogue AI known as “the Entity” that sinks a submarine and kills its crew in the movie’s opening minutes.

“If he hadn’t already been concerned about what could go wrong with AI before that movie, he saw plenty more to worry about,” said Reed, who watched the film with the president.

With Congress still in the early stages of debating AI safeguards, Biden’s order stakes out a U.S. perspective as countries around the world race to establish their own guidelines. After more than two years of deliberation, the European Union is putting the final touches on a comprehensive set of regulations that targets the riskiest applications for the technology. China, a key AI rival to the U.S., has also set some rules.

U.K. Prime Minister Rishi Sunak also hopes to carve out a prominent role for Britain as an AI safety hub at a summit this week that Vice President Kamala Harris plans to attend.

The U.S., particularly its West Coast, is home to many of the leading developers of cutting-edge AI technology, including tech giants Google, Meta and Microsoft and AI-focused startups such as OpenAI, maker of ChatGPT. The White House took advantage of that industry weight earlier this year when it secured commitments from those companies to implement safety mechanisms as they build new AI models.

But the White House also faced significant pressure from Democratic allies, including labor and civil rights groups, to make sure its policies reflected their concerns about AI’s real-world harms.

The American Civil Liberties Union is among the groups that met with the White House to try to ensure “we’re holding the tech industry and tech billionaires accountable” so that algorithmic tools “work for all of us and not just a few,” said ReNika Moore, director of the ACLU’s racial justice program.

Suresh Venkatasubramanian, a former Biden administration official who helped craft principles for approaching AI, said one of the biggest challenges within the federal government has been what to do about law enforcement’s use of AI tools, including at U.S. borders.

“These are all places where we know that the use of automation is very problematic, with facial recognition, drone technology,” Venkatasubramanian said. Facial recognition technology has been shown to perform unevenly across racial groups, and has been tied to mistaken arrests.

Public Enemy’s Flavor Flav Sang the National Anthem Before Hawks-Bucks Game and Nailed It

Flavor Flav is known for a lot of things: wearing that giant clock for the past 38 years, serving as Public Enemy rapper Chuck D’s colorful on-stage foil and an unencumbered enthusiasm that helped propel the group into the Rock and Roll Hall of Fame.

But on Sunday (Oct. 29), the Milwaukee Bucks gave Flav a job he said was on his all-time bucket list: performing the National Anthem before the home team’s game against the Atlanta Hawks. “The anthem was a long time bucket list item,,, that was fun!,” Flav wrote on X (formerly known as Twitter). “I can’t live my life worried about what people might say about me. I won’t let that stop me from trying new things and doing things I wanna do. Some people might not like that. But a sure failure is if you stop trying.”

Wearing a green No. 59 jersey (in honor of the year he was born), sideways white baseball hat, white shades and, of course, his signature big clock, Flav, 64, came out of the gate a bit shaky, but soon overcame his nerves and crooned the notoriously difficult-to-sing anthem in his own inimitable fashion. He wasn’t always near pitch, but Flav stretched out some notes in his nasal croon to the delight of the home crowd and smiling players. And by the time he hit the “home of the brave” line — which he repeated three times — the arena burst out into loud cheers for a job well done.

Check out Flav’s statement and his “Star-Spangled” performance below.