THE HAGUE, Netherlands (AP) — Dutch prosecutors have opened a criminal investigation into allegations of sexual misconduct on the talent show “The Voice of Holland,” authorities said Monday.

The prosecutor’s office said it was following up on five complaints against four people on the TV show and now officially considering them suspects after the first allegations aired in January.

The show was taken off the air when it became one of the most serious #MeToo accounts to date in the Dutch entertainment world. It focuses on a show created in the Netherlands but broadcast in local versions around the world.

The scandal erupted after a local broadcaster’s YouTube show called “BOOS” – the Dutch word for angry – contacted “The Voice of Holland” to say it had spoken to victims of “sexually transgressive behavior “. He aired a program about their allegations soon after.

Dutch broadcaster RTL, which broadcasts “The Voice of Holland”, reacted quickly to the reports and suspended the broadcast.

The prosecutor’s office said it expected the investigation to take some time and would only decide then whether to prosecute the suspects.

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“Don’t get your hands on me! Help! Please help me! Please help me!”

The final moments of Donna Dalton Castleberry’s life were captured on an audio recording on the cellphone of former Columbus Police Vice Officer Andrew Mitchell on August 23, 2018.

On Tuesday, the recording was played to a jury in the Franklin County Court of Common Pleas during the trial of Mitchell, 58, on one count of murder and manslaughter in connection with the shooting death of Castleberry. He is the first Columbus police officer to be charged with an on-duty shooting in at least 20 years.

Why is Andrew Mitchell being charged with murder? :Jury selection underway in trial of former Columbus police vice officer charged with murder

Franklin County Assistant District Attorney Sheryl Prichard said in a brief opening statement Tuesday that Castleberry turned to prostitution while battling a drug addiction. She was working on the Hilltop when she met Mitchell. The two agreed on a price of $25 for a sex act, according to the audio recording.

“She was polite and cooperative,” Prichard said.

Mitchell partially parked behind an apartment building on the 300 block of South Yale Avenue in Franklinton, with the passenger side of his unmarked sedan near the building so the doors could not be opened. Mitchell told Castleberry she was under arrest. Castleberry asked to see his badge.

Mitchell didn’t have it.

Castleberry asked to see Mitchell’s walkie-talkie. He didn’t have it either.

“You are not the police,” Castleberry said on the audio recording.

Castleberry told a person walking towards a dumpster in the parking lot to call the police because Mitchell had a “fake badge” and was trying to kidnap her.

Mitchell is then heard using an expletive towards Castleberry and a fight ensues.

“Don’t put your hands on me!” Castleberry screamed several times.

Castleberry had slid into the back seat of the four-door unmarked police car in an attempt to get out of the vehicle, but had been unable to open the rear driver’s side door as the child safety locks were engaged.

“She cut me,” Mitchell said after Castleberry pulled out a knife and stabbed the man she apparently thought was trying to rape her.

Dangerous precedent for the police:Lawyer for ex-cop Andrew Mitchell says case warns others

The Avengers’ Karen Gillan has confessed she ditched her Scottish accent to fool unwanted callers – using her American voice instead.

The former Doctor Who star was answering a series of questions on Wired’s most wanted questions video when she revealed she chose to speak American even in her private life because she was so comfortable with it.

Inverness-born Karen told her viewers: “I speak like a Scottish person who may have been on holiday in America. It’s very rare that I act in my natural accent.

“And honestly, I’ve gotten to the point where I’m more comfortable acting with a different accent.”

She added: “I’m really comfortable with an American accent. And sometimes I even use it to talk to an unwanted caller and like to keep them on the phone for as long as possible.

“I’ll be American on those calls too.”

During her Q&A, Karen told her viewers that she hasn’t learned to drive yet despite being in her 30s.

She also told them that she would definitely be interested in returning to Doctor Who with Matt Smith and Arthur Darvill.

Speaking about her huge rise to fame on the show, Karen said: “In Doctor Who I was 21, so a baby. That was the big break in my career.

“I went from not doing much work as an actor to being on a very popular show in the UK and I actually miss that so much.

“Would I go back to Doctor Who? Never say never. If asked, I would be very, very interested.

“Oh, that would be really amazing. I would love to do it with Matt Smith and Arthur Darvill if I were to go back.”

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WifiGawd uses digital portals to manifest in different regions, traversing time and space like a Bill & Ted rap game. Raised in the Rasta community of Washington DC on deep amounts of reggae and classic New York hip-hop, Wifi does not discriminate musically. Instead, it channels familiar elements from all of rap’s historically powerful regions into its own psychedelic world. In this way, WifiGawd represents a vision of post-region rap that never really happened. In the age of algorithmic guardians, he feels like a maverick.

For the uninitiated, the scope of WifiGawd’s work can seem daunting. He’s been recording prolifically since the mid-2010s, building a phenomenal collection of heart-pounding tapes that rumble and surge as if forged during hypnotic sleepless nights in the studio. Because he shifts so easily from one style to another, it’s hard to single out a WifiGawd song as representative of his ethos. His new album Command string offers a natural entry point, distilling what makes Wifi such a captivating virtuoso into 11 distinct yet successful cuts. The fact that this is his first album to be pressed on vinyl reinforces the feeling that this is WifiGawd’s deepest release to date.

While in the past it has often favored working with a single producer per project, Wifi brings together a team of top collaborators here. The result is one of the strongest sets of beats touted by an underground rap record in recent memory. Wi-Fi favors dense soundscapes and chaotic collages, all presented in a lo-fi, quirky way. The intro of Command string, co-produced by Wifi and AMAL of Maryland, is built around what sounds like the iconic riff from the Isley Brothers’ version of “Summer Breeze,” with splashes of piano keys and orchestral thumps filling the sound. Appearing later in the album, the Tyris White-produced “365” features buzzing synths and sampled strings; it sounds like a classic west coast beat that’s been left out to bake under a blood orange sun.

WifiGawd may have a keen ear for beats, but his real gift is synthesizing his performance to the music. Finding deep solace in the mix, his voice can sound wet and translucent, like you’re stretching out at the end of a party and he’s speaking to you from the opposite corner of the room. But while he may seem content hanging out in the background of his own songs, Wifi is one of the most innovative rappers to come out of the Soundcloud generation. There’s the tapped ‘4 My Skaters’, where he plays the drums as he raps with a steady pulse, managing to find time to talk about his lifelong crush Nia Long and explain the benefits of lockdowns. from Covid-19 to a criminal. On “Fuck The Law,” he transforms into a spectral presence, floating gently above a corny sax line.

Confirmed disciple of Kid Cudi, Wifi is versatile with his melodies. On the beautiful and moving “Kawasaki,” he transitions from swaggering rapping to outright vocals, making the transition seamless. Then there’s the romantic and oddly touching “Slide Thru,” where a laid-back WifiGawd looks like he’s heading into a sunset in a convertible sports car, the ringing of a cellphone underscoring the desire he has to talk to his beloved.

Realizing big ambitions and singular visions in DIY fashion seems to be a yardstick for Dahl, 26, who started Sloppy Jane 11 years ago as a high school student in Los Angeles. A boyfriend at the time gave her a Roy Orbison CD which was so well loved it was scratched to the point that a peak in “Only the Lonely” distorted. It was both scary and inspiring: “I said to myself: ‘This is what I want to do musically’, something that has the highest and the lowest, which enters and leaves lucidity, where it is. is like that beautiful, unraveling thing, ”she said a few weeks ago in another interview in Williamsburg, this time at Bar Blondeau.

Rather than seeking formal training, Dahl opted for autonomy. “Ideas are the things that are important,” she said. “You just need to walk around and trust yourself.” So she had her day on the Los Angeles punk scene, and in 2015 released Sloppy Jane’s debut EP, “Sure-Tuff,” six high jinks rock’n’roll songs starring Phoebe Bridgers, l Grammy-nominated singer-songwriter who has been friends with Dahl since high school on bass.

After the EP’s release, Dahl began work on the band’s first full-length album, “Willow”. She wanted not only to base it on a narrative theme, but also to extend beyond the bass-drums-guitar sound when performing the songs live. Dahl recalled that Bridgers told him, “Go get your orchestra. So after recording “Willow” in Los Angeles with Sara Cath, Dahl traveled to New York in 2017 and found Nardo, Wollowitz, Rothman, Brennan and others. With the band she wanted in place, she released “Willow” in March 2018.

The opening musical passage of “Madison” references the final piano outro of “Willow,” starting where the other ends, but the two albums differ. Musically, where “Willow” is more of an alternative rock opera, “Madison” is a wall of sound with more pop leanings that cuts across a range of emotions – the elevation of “Party Anthem”, the delightful weirdness of the sans. lyrics “Bianca Castafiore”, the melancholy of “Wilt”. And thematically, where “Willow” talks about “numbness” and “touching but can’t feel,” “Madison” talks about “loneliness” and wanting someone who is just out of reach, Dahl said. “It’s like you’ve figured out how to have these feelings, but you have nowhere to put them.”

ShooterGang Kony doesn’t do street rap per se. The subjects and moods of his albums include recollections of calling friends while incarcerated and an all-seeing attitude reminiscent of the Jacka. It’s not enough for Kony to rap about what happened on the streets, he talks about the effects it has had on his family. Kony and a handful of other Bay Area rappers use biting humor that makes you wince with every punch and straightforward criminal tales with a world weary message.

Over the 2020s Reverend of Red Paint, Kony was seriously trying to make this kind of touching music. This record’s “A Sinner’s Story” was a thread that Caine from Menace II Society would have told, a story about the street murders and the snitch, an edifying tale as much as a song the block would play. On his latest album, Starshooter, Kony is less concerned with the cheering. It’s better that way ; Kony is more relaxed and nonchalant this time around. He still has the rugged voice he shares with fellow Bay Area rapper Mozzy, but Kony floats with the mindset of a veteran who’s already proven himself. On “Up2Date” – a duet with Lil Bean from San Francisco – Kony makes blatant reviews like, “I’m going to send your little brother home as a gesture.” Bean’s hook is awesome, a classic bay sound that makes the voice feel like it’s blocked by a light wind.

Yet despite his more moderate demeanor, Kony remains one of the West Coast’s deadliest writers. It’s incalculable how much better the Sacramento Kings would be if they played his songs before the denunciation. “We all have the glocks, it takes one to leave you headless” is one of those lines from this album that shows Kony’s ability to make a threat sound like a polite proposition. The production, which uses the moody and creepy beats typical of the Bay Area, is a great juxtaposition to Kony’s confident and regal flow.

Kony is at his best when he makes you look at humanity in the darkest of situations. “I never knew him but they call you your father’s son”, on “Glizzy Over Rugers”, is a line that not only talks about life without a father figure, but also about feeling like a descendant of a lineage. Everyone expects you to represent the way they did. If Kony wasn’t a soldier who was first sentenced to probation before being in high school, the pressure to go out on the streets would have defeated him. He went through the wringer and it shows in his music, even when he’s having fun. For him, the joy is being able to tell you street stories to entertain you. Now that the pain has subsided, he flexes.

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