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A parody AI chatbot designed by California congressional candidate Scott Wiener’s campaign to mock the record of his opponent attracted the attention politicians crave and criticism most loathe.

The short-lived experiment stirred controversy over the use of artificial intelligence in campaigns ads and drew sharp criticism from former House Speaker Nancy Pelosi, who has endorsed Wiener’s opponent for the coveted San Francisco congressional seat. Wiener quickly pulled the plug.

Candidates on both sides of the aisle have been testing the waters by integrating generative AI into campaign ads. It comes as no surprise to political sociologist Mindy Romero, the director of the Center for Inclusive Democracy, who said candidates have long used all tools at their disposal to reach voters, from the invention of the radio and TV to social media.

“Using AI is just part of the progression,” Romero said. Generative AI is particularly useful for political candidates since it allows them to subconsciously influence viewers by putting words in their opponents’ mouths, she said.

Even as political campaigns experiment with more outlandish applications of the technology, many have already been using AI in quieter ways, including to compose tailored mailings and participate in digital chat rooms, Romero said.

GOP gubernatorial candidate Steve Hilton on July 24 released three cinematic ads made using generative AI, the first of which features fictional portrayals of Kamala Harris and Gavin Newsom, shown sharing a lavish meal.

The ad also depicts a fake Xavier Becerra, his Democratic rival in the governor’s race, who is heard saying, “I believe all the things that Newsom believes.” The ad ends with Hilton facing off against a massive red-eyed robot meant to represent the “Democratic machine.” An AI disclaimer appears in the last five seconds of the two-minute and 29-second video.

“Campaigns have always adopted new technology, from television to the internet to social media,” Hilton campaign spokesperson Hector Barajas said in a statement. “Generative AI is the next step, and we believe it would be irresponsible not to use every lawful, ethical, and innovative tool to communicate with California voters.”

Spencer Pratt, who unsuccessfully ran for L.A. mayor, in May reposted on X a viral Batman-inspired AI-generated video that depicted Mayor Karen Bass as the Joker, the clownish supervillain. Charles Curran, the filmmaker who made the fan video in support of Pratt, appears to now be working with Hilton’s campaign in a more official capacity, with his X account tagged on several campaign social media posts.

“I view this as the evolution of political satire,” Curran said, referring to his AI videos, in an interview with the Washington Times. “Like Mark Twain. Like Tammany Hall.” Curran did not respond to interview requests.

“We’re on the bleeding edge right now,” said Sacramento political consultant Tim Rosales, who ran Republican John Cox’s 2018 gubernatorial campaign. He said he anticipates that campaigns will more fully understand and use AI to its full extent in the next two election cycles.

California campaigns have long been at the forefront of adopting new technologies. In the 1980s, the late political strategist Clint Reilly was among the first political consultants to use voter roll data to segment and target pivotal voters for turnout and persuasion.

Rosales said that because campaigns in California are more expensive and raise more money than those in other states, “You have a lot more tools in your tool box and more toys you can play with.”

Lynn Vavreck, a political science and communications studies professor at UCLA, said the persuasive effects of Hilton’s AI videos are likely “limited” as they are most likely being watched by supporters. The videos, she said, are more akin to “content creation” than to ads.

Romero said AI technology can be beneficial for campaigns, particularly those with limited funds, that may use it to create outreach lists, assist with analysis or generate creative and campaign materials.

But AI-generated video, images and audio are a “double-edged sword,” Romero said. While effective at drawing attention, they may have the unwanted effect of making viewers uncomfortable by blurring the lines of reality — even if the AI use is disclosed. As a result, political campaigns must make a “strategic calculation” when they opt to use them, she said.

Those perils surfaced last week when the campaign of Wiener (D-San Francisco), who is running for the congressional seat held by the outgoing Pelosi, unveiled an AI chatbot that could be accessed on the ConnieChan.ai website.

The site referred to itself as “Connie, the world’s first AI trained to say no to anything you ask.” The footer included a note that the site is not affiliated with or endorsed by Chan, is meant as parody, and is paid for by Wiener’s campaign.

“Bring me an idea and I’ll explain why it can’t, shouldn’t, and won’t happen,” the site said, followed by a box encouraging users to type in a query. The chatbot would then produce a snide response parodying Chan.

When The Times entered the word “housing” into the text box last week, its response came seconds later.

“I built my career opposing new housing in San Francisco,” the chatbot’s response read. “I aggressively defend the status quo, and I’m fine with exploding rents and mass displacement.” It then rattled off examples including Chan’s opposition to Wiener’s state law to streamline housing projects.

Wiener campaign spokesperson Joe Arellano said Wednesday that he came up with the idea of making a chatbot ad shortly after the June primary election, when he saw a video showing a group of people putting up parody tech and AI advertisements in the New York City subway.

“I thought, this is an opportunity to do this right in the heart of innovation here in San Francisco,” Arellano said. “San Francisco right now is having this moment around AI and the billboards. … The overall craze around the industry has become a cultural moment.”

The chatbot cost $5,000 to make, a sum that includes the cost to secure the domain, host the site and obtain the pro version of Anthropic’s Claude AI model, plus staff time, according to Arellano. The campaign spent an additional $20,000 to rent two billboards in San Francisco promoting the bot.

The idea was to highlight Chan’s “record of obstructing progress” through a “chatbot that essentially says no to any kind of policy that you’re proposing,” Arellano said.

Chan’s campaign and her allies saw it differently.

“[It’s] never a good idea for a man to put words in a woman’s mouth — especially when they are falsities fraught with racist and sexist undertones,” Ian Krager, a spokesperson for Chan’s campaign, said in a text message. The chatbot, Krager said, showed Wiener was “bought and paid for by Big AI.”

Chan’s campaign shared several screenshots of interactions with the chatbot with The Times, including one in which the chatbot was asked if it was “from China.” (Chan was born in Hong Kong.)

According to the campaign’s screenshot, the chatbot replied that its “origins are classified under about seventeen different committee review processes.”

Then, it pivoted: “But I’d love to help obstruct something *else* you’re curious about! Here are some of my favorite topics,” and spat out a menu of topics to choose from, which included “blocking housing” and “derailing public transit.”

Wiener’s campaign said the chatbot was created with “strict guardrails” and designed to ignore controversial and malicious prompts and pivot back to Chan’s policy record.

Pelosi, who has endorsed Chan in the race, released a statement Thursday criticizing Wiener’s campaign for the chatbot, calling its use of AI to “fabricate a woman’s voice for ridicule or attack” a “gross misuse of technology.”

At first, Wiener defended himself, writing on X Thursday evening that his rival’s campaign inundated the chatbot with “malicious questions” about her accent, race and citizenship that the chatbot refused. The next day, Wiener reversed course.

“[Our] use of an AI chatbot clearly missed the mark,” Wiener said in a statement Friday. “The conversation became about the tactic instead of the issues that actually matter to San Franciscans.”

Wiener’s campaign on Friday took the chatbot offline and announced plans to take down the billboards.

Romero said experts began to have widespread discussions about how AI could be used to sway voters and affect democracy in the lead-up to the 2024 election when a company sent deceptive phone messages that used AI to mimic President Biden’s voice and discourage people from voting.

Since then, there have been several efforts by California lawmakers to rein in AI-generated advertising.

Gov. Gavin Newsom in September 2024 signed several AI-related bills. They include AB 2839, which banned the distribution of materially deceptive content that could harm a candidate’s reputation or electoral prospects, with exceptions for satire and parody, and AB 2355, which requires a committee that creates a political ad to disclose if it was generated or substantially altered by AI.

U.S. Sen. Adam Schiff (D-Calif.) and Rep. Ro Khanna (D-Fremont) have renewed an effort to update the Federal Election Campaign Act of 1971 to clarify that existing bans on “fraudulent misrepresentation of campaign authority” and the “fraudulent solicitation of funds” also extend to AI-generated content.

“Fraudulent AI advertising has already proliferated in races across the country, and if Congress does not act, this runaway challenge will only get worse as AI becomes increasingly capable of blurring the lines between fact and fiction,” Schiff said in a statement.

Elena Kuhn, a spokesperson for Schiff, said the proposed legislation applies to material that attempts to “speak on behalf of other candidates,” meaning Hilton’s AI-generated cinematic clip of himself fighting a robot would be not be banned — contrary to the Republican candidate’s claims that it would be.

Lauren Bennett, the British singer who told millennials to “put yo’ hands up” in LMFAO’s megahit “Party Rock Anthem,” and a member of pop group G.R.L., has died. She was 37.

G.R.L. members Emmalyn Estrada, Natasha Slayton and Paula van Oppen announced Bennett’s death on Monday via social media.

“It is with great sadness that we share the passing of our beloved Lauren,” G.R.L.’s statement read.

“Our hearts are broken, and we cannot begin to express how much she meant to us. We will forever cherish the love, laughter, and countless memories she gave us. Her beautiful spirit touched so many lives, and she will be deeply missed and forever loved. Rest peacefully, sweet Lauren. You will always be in our hearts.”

Bennett’s cause of death has not been revealed.

The British singer first splashed onto the music scene when she appeared on the U.K. “X Factor” in 2006. She was eliminated before the live show round of the series, but the following year she was recruited to join Paradiso Girls, a group launched by Pussycat Dolls founder Robin Antin. In 2009, they dropped “Patron Tequila,” featuring Lil Jon and Eve. The group disbanded in 2010 and their debut album was never released.

In 2011, Bennett joined forces with electronic dance duo LMFAO on “Party Rock Anthem.” The track spent six weeks topping Billboard’s Hot 100 chart and became wildly popular globally. Billboard ranked the megahit second on their official “Top Hot 100 Songs of the Decade” list for the 2010s, behind Mark Ronson and Bruno Mars’ “Uptown Funk.”

In 2012, she and Antin teamed up again, forming pop group G.R.L. (Girls Rock Life) with founding members including Bennett, Estrada, Slayton, van Oppen and Simone Battle. The group debuted on the “Smurfs 2” soundtrack with “Vacation” in July 2013 and, in early 2014, they were featured on Pitbull’s “Wild Wild Love.” In the summer of 2014, they dropped “Ugly Heart,” the lead single of their self-titled EP, but in September, founding member Battle died by suicide. G.R.L. split up the following year. By 2016, the group reformed as a trio with Bennett, Slayton and new member Jazzy Mejia.

Bennett welcomed her daughter, Harlow, with partner and “Footloose” star Kenny Wormald in 2019. Wormald often shared photos of Bennett on his Instagram with loving captions.

Longtime friend and music producer Josh Stevens, who co-wrote and engineered LMFAO’s sophomore album “Sorry for Party Rocking,” posted a tribute to Bennett on Monday, writing, “My friend [Lauren Bennett] we will deeply miss you. I was lucky enough to witness you change the world! We traveled the globe party rocking from night clubs to stadiums, a wild and crazy time. A true legend!

“Later on in life our children had the same birthday, I remember us texting each other while you were in labor and my wife was in labor on the same day, same time, both in the hospital. We were laughing and it somewhat seemed calming to know to each was going thru this at the same time.

“We will very much miss you.”

Donny Hathaway had already been expounding on the splendors and indignities of American life by the time he got to the Troubadour in West Hollywood in the last week of August 1971.

A classically trained pianist with a declamatory voice shaped by his years in the church, Hathaway closed Side 1 of his 1970 debut with an original called “Tryin’ Times” — “Maybe folks wouldn’t have to suffer,” he sang, “if there was more love for your brother” — and finished the LP with a stately rendition of Nina Simone’s “To Be Young, Gifted and Black.” Months after the album was released, he dropped a joy bomb of a holiday single, “This Christmas,” that unapologetically made space for a Black experience in the yuletide-industrial complex.

Donny Hathaway performs at Mister Kelly’s in Chicago in 1971.

(Val Mazzenga / Chicago Tribune / Tribune News Service via Getty Images)

Yet Hathaway captured something indelibly American during his week of shows at the Troubadour, which were recorded (along with a later gig at New York’s Bitter End) for the singer’s classic “Live” album that came out in February 1972. On an LP full of spine-tingling performances, the undeniable high point is Hathaway’s take on Carole King’s “You’ve Got a Friend” — a clear-eyed if optimistic portrait of resilience and cultural exchange.

King — who’d made her name in the 1960s as half of a prolific Brill Building songwriting duo with her husband, Gerry Goffin — wrote “You’ve Got a Friend” after leaving Goffin and moving to Los Angeles with her two young daughters. Here she remade herself as a low-key singer-songwriter dispensing wise yet unflashy tunes about love, home and family — part of a gentle resetting of pop’s mood after the turmoil of the previous decade.

Cut like the rest of the album at A&M Studios on La Brea Avenue, “You’ve Got a Friend” helped drive King’s 1971 “Tapestry” LP to sales of more than 10 million copies and to a boatload of trophies (including album, record and song of the year) at the Grammy Awards; the singer’s pal James Taylor, whom she’d performed with for the first time in late 1970 at the Troubadour, topped Billboard’s Hot 100 with his own cover of “Friend” featuring background vocals by Joni Mitchell.

On the advice of Atlantic Records’ Jerry Wexler, Hathaway also recorded “Friend” as a studio duet with Roberta Flack, a fellow Howard University alum; their take sat in the Top 20 of Billboard’s R&B chart as Hathaway began his run at the Troubadour — popular enough that the audience on “Live” erupts at the sound of Hathaway’s opening organ lick.

Carole King at A&M Studios in Los Angeles in 1970.

(Jim McCrary / Redferns via Getty Images)

Indeed, the crowd is really the thing in this live version of “You’ve Got a Friend.” Hathaway and his band — including guitarist Phil Upchurch, bassist Willie Weeks and 16-year-old Fred White (soon to be of Earth, Wind & Fire) on drums — are cooking, to be clear; the groove is funky and viscous, and Hathaway’s vocal is gorgeous, not least in his nimble ad-libs.

But it’s his interplay with the few hundred folks in the room that elevates the recording to a deeply moving piece of art.

For King (and Taylor), the song’s promise of unflagging support is an intimate one-to-one matter; their renditions use homey acoustic arrangements to create a picture of two people exchanging confidences. In Hathaway’s hands, “Friend” is about community: Before he even asks them to, the audience takes over for him on lead vocals in the song’s chorus, a congregation in all but name.

Given the proximity to the civil rights movement, it’s impossible to hear Hathaway’s “You’ve Got a Friend” as disconnected from the struggles of Black people. At the Troubadour (as in his and Flack’s duet), he nixes the song’s second verse to arrive more quickly at the bridge, in which he describes a cold world filled with those who’d “hurt you and try to desert you” — even “take your soul if you let them.”

As Emily J. Lordi notes in her 2016 book about “Donny Hathaway Live,” the crowd lays back during the bridge before rejoining Hathaway for the song’s second chorus; the decision, somehow spontaneous and collective at once, is an expert bit of record-making on the part of an audience that, according to legend, hadn’t been told the concert was being taped.

“From this perspective,” Lordi writes of Hathaway’s fans — some number of whom had surely availed themselves of the Troubadour’s bar, as she points out — “they are not stealing the show so much as they are holding him up, ensuring he won’t sing the duet alone.” Together, performer and audience are turning back (not that they necessarily had a choice) to the ugly truths that singer-songwriter music sometimes sought to move past.

In this way, Hathaway’s “Friend” becomes a reinvention of a reinvention — an act of moral imagination about as American as it gets.

This wasn’t the only instance of a Black soul singer interpreting a tune King had written as a single mom newly arrived in L.A.: In May 1972, the Isley Brothers released a sultry cover of “It’s Too Late”; a month after that, Aretha Franklin’s live “Amazing Grace” album mashed up “You’ve Got a Friend” with “Precious Lord, Take My Hand,” completing the gospel-ification that Hathaway had begun in a bastion of white rock culture temporarily remade as an African American church.

Yet in Hathaway’s “Friend” you can hear the whole story American music tells about identity and belonging (and about commercial ambition).

“This might be a record here,” Hathaway tells the crowd near the end of the song, and so it was — a document of adaptation, a testament to borrowing, a bulwark against pretty fictions.

South Korean boy band BTS, U.S. pop culture icon Madonna and Latin music superstar Shakira will be performing at halftime during the World Cup final July 19 at MetLife Stadium in East Rutherford, N.J., FIFA announced Thursday morning.

The performance will support the FIFA Global Citizen Education Fund, which is looking to raise $100 million to assist children in accessing education and soccer.

FIFA president Gianni Infantino wrote on Instagram that the show “will be a truly special moment, bringing together music, football and a shared commitment to improving the lives of children around the world.”

The show is being curated by Coldplay leader Chris Martin and, if this event announcement video is to be believed, a bunch of Muppets.

“It’s a chance to show how amazing all different kinds of humans are,” Martin explains to Elmo in the video.

The three acts will bring a variety of cultures, musical styles and generations of fans to the Super Bowl-style concert, which will be the first of its kind for a World Cup final.

Madonna headlined the Super Bowl XLVI halftime show in 2012, and Shakira teamed with Jennifer Lopez to co-headline the Super Bowl LIV halftime show in 2020. Also, Coldplay headlined the Super Bowl 50 halftime show in 2016.

No duration time has been announced for the World Cup show, although soccer halftimes are not supposed to last more than 15 minutes. Bad Bunny’s halftime performance at Super Bowl LX in February lasted 13 minutes.

Among the three of them, Madonna, Shakira and BTS have compiled 20 No. 1 songs on Billboard’s Hot 100 singles chart, 10 Grammys and 37 MTV Video Music Awards. Shakira is scheduled to release “Dai Dai” with Nigerian singer Burna Boy as the official song of the 2026 World Cup this month.