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Here's how Hailey Bieber shut down breakup rumours

Here's how Hailey Bieber shut down breakup rumours

Khaleej Timesa day ago
Hailey Baldwin Bieber has seemingly responded to ongoing speculation about her marriage by sharing a strong message about her husband Justin Bieber's album, Swag.
In a recent Instagram Story, Hailey re-shared a photo of the cover art for the Baby singer's seventh album, which features a black-and-white snap of the couple and their 10-month-old son Jack Blues Bieber. Alongside the sweet family portrait, the 28-year-old wrote, "Is it finally clocking to you... losers?"
Her response not only appeared to shut down the breakup rumours. It was also a reference to a viral video of Justin confronting paparazzi for following him while he took an evening trip to a Malibu beach.
Earlier this month, Justin also shut down speculation that he and Hailey are headed for divorce by sharing a series of photos of the model hugging him while sitting in his lap at sundown, reported E! News.
Recently, the 31-year-old singer took to his Instagram account to post an adorable picture showing him and Hailey, 27, cuddling by a pool.
Hailey also posted a series of photos with a yellow theme from the same trip, though Justin didn't appear in her pictures.
Justin later reshared her post on his Instagram Stories. The couple, who welcomed their first child, Jack Blues, in August 2024, also seem to be enjoying their new chapter as parents.
The singer recently shared a heartwarming black-and-white video on Instagram, where he can be seen playing with his baby boy, Jack Blues. The clip shows a sweet father-son moment that has touched the hearts of many fans.
Hailey recently admitted that the negativity has taken a toll on her as a new mom.
"Being postpartum is the most sensitive time I've ever gone through in my life, and learning a new version of myself is very difficult," Hailey said in an interview earlier. "And to be doing that all the while going on the internet every day and people being like, 'They're getting divorced' and 'They're this' and 'They're not happy'."
She added, "I cannot even begin to explain it. It's a crazy life to live," she said.
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AI-generated band Velvet Sundown hit 1 million Spotify listeners, but is the music any good?
AI-generated band Velvet Sundown hit 1 million Spotify listeners, but is the music any good?

The National

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  • The National

AI-generated band Velvet Sundown hit 1 million Spotify listeners, but is the music any good?

Under normal circumstances, Velvet Sundown would be a good news story. The band released three full-length albums only weeks apart, amassing more than a million monthly Spotify listeners, all while their tracks landed on popular mood-based playlists. At a time when few new rock bands are breaking through, their arrival stands out. There's only one complication – the band aren't real. At least, not in the traditional sense. There are no verified photos of all four members, no live shows, no interviews and no clear production credits. The backstory grew murkier on July 2 when an 'adjunct' member named Andrew Frelon told Rolling Stone that Velvet Sundown had used the generative AI platform Suno to create their songs, describing the project as an 'art hoax'. Three days later, the band's official Instagram and X accounts responded, initially denying Frelon's claims and stating that their identity was being 'hijacked', before confirming that the group is indeed AI-generated, but that they are 'not quite human, not quite machine'. But the point of this review isn't to play detective and spot the musical equivalent of the em dash. It's to ask, even if this music were made by machines, is it actually any good? Floating on Echoes and Dust and Silence and Paper Sun Rebellion feel less like distinct records and more like different sides of the same coin. At its algorithmic heart, Velvet Sundown is more a stylistic experiment than a creative expression. They evoke the warm, washed-out tones of 1970s Laurel Canyon folk – a hazy Americana sound informed by soft guitars, genteel percussion and warm ambience. The references are convincing. But as a listening experience, it wears thin fast. Take Dust on the Wind, currently the band's most-streamed track. It's laid-back, mellow and competently arranged. The bassline rolls along gently, the percussion shuffles lightly behind the guitars and the whole thing lands exactly where it should. While the song has a definite vibe, it's not enough if that's all there is. Drift Beyond the Flame and The Wind Still Knows Our Name follow similar patterns, and after a while, that sameyness starts to set in. And after 20 songs of this, the question stops being about whether they are real and more about why they don't make me feel anything? Part of the answer lies in the vocals. The singer (credited as Gabe Farrow) – or rather the simulated voice – is programmed to sound like a restrained crooner, somewhere between a diet Chris Cornell and Jeff Buckley, but without the risk. Every note falls exactly where it should, like Tetris blocks. Just when a vocal line is begging to be lifted or break slightly, it stops flat as if the air's been cut. You don't hear breath intake, strain or any of the human cracks that gives a performance its vulnerability. The voice never truly soars, and maybe, for now, it can't. The music across the trio of albums, all 39 songs in total, carries the same uniform restraint. The titles suggest emotional weight – End the Pain, Smoke and Silence and Drift Beyond the Flame – but the lyrics rarely move beyond generalities. While criticising an album for vague writing can feel like low-hanging fruit, it's harder to ignore when the genres referenced are built on a tradition of evocative lyrics that are often direct, searing or emotionally grounded. End the Pain promises catharsis but never builds towards anything. Smoke and Silence is filled with empty slogans (raise your voice, break the chain / sing for peace, end the pain), and Dust on the Wind, with its soft tone and strong melody, drifts through pastoral scenes without direction. Even in folk or Americana, genres often known for their ambience and intimacy, there's usually a sense of movement, of intriguing emotional drift. Think of Neil Young's 1970 album After the Gold Rush, a genre cornerstone whose songs sway between togetherness and dissonance. It features tracks such as Southern Man that bristle with urgency, and Don't Let It Bring You Down, which drifts between melancholy and resolve. Or take Joni Mitchell's 1971 album Blue, where A Case of You feels fragile and raw, like it could unravel at any moment. These songs and albums sound intimate, but never inherently inert. With Velvet Sundown, everything sounds nice, but nothing surprises. And for music made by a system designed to predict, maybe that's the only range it can currently produce. This is what makes the band's creator or creators' – they haven't been revealed – choice of genre strange. 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Who's the ultimate Superman? Every actor who played Man of Steel ranked
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Since 1938, Superman has been a pop culture icon — the blueprint for every superhero to follow. But the character's legacy doesn't rest solely on comic panels or Kryptonite; it's also in the many faces who've donned the red cape on screen. From black-and-white TV to modern blockbusters, Superman has been interpreted in numerous ways — wholesome, brooding, noble, and even conflicted. So who did it best? Let's fly through history and revisit nine actors who have played Superman, from top to bottom, while taking note of their legacy and cultural impact. 1. Christopher Reeve (1978–1987) – The gold standard Appearances in Superman: The Movie (1978), Superman II (1980), Superman III (1983), Superman IV: The Quest for Peace (1987) Legacy: Often regarded as the definitive Superman. Reeve balanced Clark Kent's nerdy charm with Superman's gravitas, making the impossible feel real. Even after decades, he remains the fan favourite for the most iconic portrayal of Superman. 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Jeremy Renner is upset about allegations by ex-wife Sonni Pacheco
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