Miami-Dade officials drop charge of battery by strangulation against rapper due to ‘insufficient evidence’

Florida prosecutors on Thursday dropped a felony charge against rapper Rick Ross nearly a month after he was arrested in Miami Beach when a woman he was living with told police he hit her, court records said.

The Miami-Dade state attorney’s office filed paperwork on Thursday to drop a felony charge of battery by strangulation because of “insufficient evidence”. Ross, whose legal name is William Roberts II, still faces a misdemeanor charge of battery domestic violence.

Scraping copyrighted material from internet could ‘potentially’ amount to acquisition of property by government, Anne Twomey says

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Altering copyright law to allow AI companies to scrape music, books and journalism could trigger a constitutional breach, Coalition senators and the recording industry have warned, as they raise new fears it could open Australia to massive legal action and compensation claims from rights holders worldwide.

The attorney general’s department admitted it was “extremely alive” to the issue, and Australia’s leading constitutional expert, Anne Twomey, agreed there was “potentially” a concern – depending how legislation was drafted – that granting AI companies permission to scrape copyrighted material from the internet could amount to an acquisition of property by the government.

Young dancers at the Ivy House in south-east London join the older crowd amid a renewed appetite for authentic, community events

The Ivy House pub in Nunhead, south-east London, has long been associated with raucous music, with the rock legends Ian Dury and Elvis Costello gracing its stage in the 70s, and indie favourites caroline and Kiran Leonard pulling in crowds today. But last Friday, it was a traditional Scottish ceilidh dance rather than a grassroots gig luring London’s cool kids to its sticky dancefloor.

The event is emblematic of a renewed appetite for analogue, in-person experiences among a younger generation plagued by a loneliness epidemic and fatigued by meeting people on dating apps.

Young dancers at the Ivy House in south-east London join the older crowd amid a renewed appetite for authentic, community events

The Ivy House pub in Nunhead, south-east London, has long been associated with raucous music, with the rock legends Ian Dury and Elvis Costello gracing its stage in the 70s, and indie favourites caroline and Kiran Leonard pulling in crowds today. But last Friday, it was a traditional Scottish ceilidh dance rather than a grassroots gig luring London’s cool kids to its sticky dancefloor.

The event is emblematic of a renewed appetite for analogue, in-person experiences among a younger generation plagued by a loneliness epidemic and fatigued by meeting people on dating apps.

The Rotterdam band are a riot of sound, look and attitude led by Eva Kah, who is as much a living artwork as she is a phenomenal live performer

From Rotterdam, the Netherlands
Recommended if you like Gnod, Discharge, Gwar
Up next Debut album Big Enemy out now via Tartarus, playing Le Guess Who festival

Rotterdam’s Bombstrap are a riotous and theatrical fusion of sound, look and attitude. An embodied version of John Milton’s Pandæmonium with the amp turned up to 11, the band revel in hardcore alternative living, internet wormholes, art-school pretensions and a gungy form of hardcore. Based in and drawing succour from one of the most famous squatted centres in the city, Het Poortgebouw, Bombstrap are a noisy counterblast to the increasing and overwhelmingly witless “circuses-and-bread” gentrification of Rotterdam.

Kentridge’s cine-musical creation, made to accompany Shostakovich’s 10th Symphony, is a marvel of puppetry, dance and humour, exploring humanity, grief and idealism

The Baku international arts festival in Azerbaijan is showcasing an amazing cine-musical creation, perhaps the most amazing animation I have ever seen. Oh to Believe in Another World is an hour-long collage animation with live-action choreography by the 71-year-old South African artist and film-maker William Kentridge. It is shown with the live orchestral accompaniment of Shostakovich’s 10th Symphony, and this event is partly in honour of the 120th anniversary of Shostakovich’s birth this year, and partly to honour Shostakovich’s reportedly unrequited love (and lifelong friendship) for his student, Azerbaijani pianist and composer Elmira Nazirova.

The 10th symphony was inspired by Stalin and premiered shortly after his death, so it seems probable that Shostakovich had been at work on it for some time before this, long enough beforehand for at least some of the composition to have been conceived without any sense of Stalin’s death. Could part of it perhaps have been originally intended as an obediently dramatic tribute to Stalin? Yet the music arguably combines fear, awe, revulsion, and a hysterical reaction to the mad energy of Stalin’s genocidal tyranny, a darkly ambiguous respect for the great dictator whose victory in 1945 was a mainstay of the postwar dispensation; perhaps there is also a feeling in the music’s swirl that a great and terrible era has passed away, and with it a kind of grief at all that had been sacrificed to it.

(Rough Trade)
Collecting traditional songs of female struggle and strength, the Irish singer invests them with staggering power

Lankum singer Radie Peat’s extraordinary debut album begins without frills or ornament: just her voice, stark and low, each breath like air vibrating through the metal reeds of a harmonium. Singing Hares on the Mountain to the tune Shirley Collins arranged for 1964’s Folk Roots, New Routes, Peat accompanies herself subtly on Fender Rhodes piano before adding layers of Mellotron and Wurlitzer. Her simple, quiet approach is consistently startling and profoundly moving.

No Human Tongue Can Tell collects songs of female struggle, suffering, strength and endurance, although Peat only realised this, she writes in her liner notes, after limiting her choices by her “own mind and abilities” and “personal preferences”. Epic statements clearly aren’t her bag; her gut-deep connection with songs she’s sung live for years clearly matters more, with many delivered in new versions, pulsing with urgency.

Thirty-three months after it was announced, the grime legend’s new album is coming out. He explains how skinheads, fatherhood and rap history came to bear on its socially conscious contents

‘I can’t be perfect,” Skepta says, pulling a black Arc’tyrex beanie down over a furrowed brow with both hands. “But I can be conscious.” The self-proclaimed king of grime has always been a serious person, wary of fools and time-wasters. Focus is important to him, perhaps because he’s often multitasking: balancing his music career, his fashion label Mains, film-making and acting (his debut short, Tribal Mark, came out in 2024), his Big Smoke festival and a house music project, Más Tiempo.

He coordinates them all from the scruffy but functional studio in London’s West End where we meet. At one point, he picks up a Rubik’s Cube from the cluttered coffee table, and, over the course of five minutes of conversation, solves it. “This album has been winding me up,” he admits, referring to The Fork and Knife, which is out next week, 33 months after it was first announced. “But I think I’ve actually made something here that is what the people want from me.”