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Paris Hilton Returns to Album Charts for First Time in 18 Years

Eighteen years after releasing her debut self-titled studio album, Paris Hilton is back on Billboard’s album charts with her follow-up project Infinite Icon.

The album debuts at No. 38 on the latest Billboard 200 chart (dated Sept. 21) with 18,000 equivalent album units earned in the U.S. in its opening week (ending Sept. 12), according to Luminate. It features A-list collaborations with Meghan Thee Stallion, Rina Sawayama, Meghan Trainor and Sia.

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Her first album, Paris, reached No. 6 on the Billboard 200 in September 2006, and included “Stars Are Blind,” her debut single that climbed to No. 18 on the Billboard Hot 100 a month prior.

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While Hilton hasn’t charted an album since then, she hasn’t been totally absent from the charts. She’s charted three songs on the Hot Dance/Electronic Songs chart, all since 2013: “Good Time” featuring Lil Wayne (No. 19 peak in 2013), “High Off My Love” (No. 35; 2015) and “B.F.A. (Best Friend’s Ass)” with Dimitri Vegas and Like Mike (No. 45; 2019). She’s also released other collaborations with Sia, Steve Aoki, Kim Petras and Lil Wayne, among others.

For Infinite Icon, Hilton recruited a team of top-level producers and songwriters to pull the project together. Jesse Shatkin is credited as a producer on all 12 of the album’s tracks. He’s previously worked with Sia, Kelly Clarkson, Miley Cyrus and Ellie Goulding, among others. Notably, he co-producer Sia’s “Chandelier” and One Direction’s “Perfect,” which both reach the top 10 of the Hot 100 (at Nos. 8 and 10, respectively).

Greg Kurstin worked on Hilton’s Sia collaboration “Fame Won’t Love You.” Kurstin is perhaps best recognized for his work with Adele (including her No. 1s “Hello” and “Easy On Me”), but he’s also produced and written songs for Kelly Clarkson (including her No. 1 “Stronger [What Doesn’t Kill You]”), P!nk, Tate McRae, Miley Cyrus and Halsey. He’s also spent 14 total weeks at No. 1 on Billboard’s Hot 100 Producers chart.

Alex Frankel is also credited as a producer on six songs from Infinite Icon. Frankel is half of the synthpop indie duo Holy Ghost!, and has also worked on music with fellow indie acts the Juan MacLean and U.S. Girls.

Other producers on the project include Kid Harpoon, Banx & Ranx, Dallas Caton, House of Wolf and Naliya.

The BET Hip Hop Awards Move From Atlanta To Las Vegas

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Looks like the BET Hip Hop Awards will be taking their talents from the South to the West come next year as they’re looking for a new venue for the new year.

According to HipHopDX, the BET Awards will be setting up shop in Las Vegas, Nevada, on October 8 (it will actually air a week later) after spending the last decade and change holding the awards ceremony in Atlanta. The sudden move is sure to surprise many in the Hip-Hop community as no one ever seemed to mind having to go to the A to get their BET Award But apparently, the higher-ups over at the network felt it was time to expand as the culture continues to grow in ways no one expected over the past few decades.

Per HipHopDX:

In a statement, BET CEO and President Scott Mills said: “From the groundbreaking performances of legends like Sammy Davis Jr. and Lena Horne, who shattered racial barriers, to today’s leading and emerging artists, Las Vegas’ vibrant energy reflects the innovation, soul, and storytelling that Black culture continuously contributes. BET is excited to bring ‘BET Hip Hop Awards’ to a city known for its electrifying atmosphere and rich history of awe-inspiring entertainment.”

Connie Orlando, EVP of Specials, Music Programming & Music Strategy at BET, added: “In 2023, BET paid homage to the legacy, impact, and evolution of hip hop during its golden anniversary, punctuating the year-long celebration with BET Hip Hop Awards. This year, we will continue to honor the genre while pushing boundaries with fresh experiences, including an unforgettable night in Las Vegas. We’re thrilled to continue to bring fans memorable performances and surprises that will make for another epic night of hip hop.”

Though we’re sure artists from Atlanta and the good people of the Big Peach won’t appreciate the move too much, y’all already know entertainers and artists will love hitting the casinos before and after the award show, so they probably won’t be complaining about the venue change. Just sayin’.

What do y’all think about BET taking their awards show out to Sin City? Should they have stayed in Atlanta? Should they have gone to LA or NY instead? Let us know in the comments section below.

Zach Bryan Apologizes for Tweeting Ye Is Greater Than Taylor Swift

Zach Bryan knows all too well he made a mistake, and he’s acknowledging it. The country star shared a lengthy explanation and apology on Thursday (Sept. 19) after tweeting two days earlier “eagles > chiefs / Kanye > Taylor,” then asking followers, “who’s with me.”

“for the record guys I wasn’t coming for Taylor the other night,” he wrote in an Instagram Story he paired with the pop superstar’s Post Malone Billboard Hot 100 No. 1 collab “Fortnight.” “I was drunkenly comparing two records and it came out wrong. I know there’s a lot of stuff that clouds around Ye and I was speaking purely musically. I love Taylor’s music and pray you guys know I’m human and tweet stupid things often. Hope one day I can explain this to her.”

The country singer — has since deactivated his X account — went on to explain that he gets in trouble on the social media platform too much, and will be staying off of it. “I’m sorry to any Taylor fans I pissed off or let down.” he added.

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In a second Story featuring “The Albatross,” the “I Remember Everything” singer explained that he’s been going through a tough time, and shared his appreciation for the 14-time Grammy winner. “To be completely honest, it just came off as rude and desensitized to Taylor. I respect her so much as a musician that the last thing I want is people thinking I don’t appreciate and love what she has done for musician,” he wrote, before offering a public service announcement. “Love you guys and hope you guys understand. Don’t drink and tweet. Don’t drink and tweet!”

But he wasn’t done there. The country star continued to express his love for Swift in a third Story. “Taylor has been a force of nature for as long as we’ve all been growing up and I admire that,” Bryan wrote in part. “I never want people to think I have a hint of malice or meanness towards anyone, ever, that’s why I’m saying all this.”

Bryan, who won the Grammy for best country/duo performance for his No. 1 Hot 100 hit “I Remember Everything,” went on to elaborate on the tough time he’s had in a fourth Story. “This year has been an awful lot on me in personal ways that no one knows and I’ve been trying to cope and balance too many things at once,” he explained. “So I’m going to take a breather from tweeting stupid stuff, finish my tour, and ground myself somehow in the midst of all this. I feel very, very blessed each day.”

Billboard has reached out to Swift’s rep for comment.

The pop superstar and Ye have a long had bad blood, dating back to the 2009 VMAs, when the rapper grabbed the mic from Swift as she was accepting the award for best female video, and made his infamous “Imma let you finish” speech. Then there was the “Famous” lyric by the controversial rapper — who in recent years has faced mounting criticism for his hate speech — calling the “Anti-Hero” singer a “b—h” that included what Swift in 2023 called the “frame job” phone call of her allegedly approving the lyric, and more.

Bryan is set to perform at the Bourbon & Beyond music festival in Louisville, Ky., on Saturday (Sept. 21). His Quittin Time tour then resumes Nov. 17 in Canada, before swinging back into the U.S. for a series of shows beginning Nov. 22 in Tacoma, Wash.

The Eagles Pay Tribute to ‘Brother, Friend, Brilliant Collaborator’ J.D. Souther: ‘He Was An Extraordinary Man’

The Eagles paid loving tribute to their late friend and collaborator J.D. Souther on Wednesday (Sept. 18) in a heartfelt message posted just a day after the singer/songwriter/actor died at 78. “We have lost a brother, a friend and a brilliant collaborator, and the world has lost a great songwriter, a pioneer of the Southern California sound that emerged in the 1970s,” the veteran easy rocking band wrote. “J.D. Souther was smart, talented, well-read, and in possession of a wicked sense of humor.  He loved a good meal, a good movie, and a good Martini … and he loved dogs, adopting many, over the course of his lifetime.”

The band — whose current lineup includes founding singer/drummer Don Henley, as well as guitarist Joe Walsh, bassist Timothy B. Schmit and guitarist/vocalists Deacon Frey and Vince Gill — continued with an homage to the versatile Souther’s many loves and contributions to their legendary songbook.

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“Born in Detroit and raised in the Texas Panhandle, he was a student of the deep roots of the best American music – from country, to jazz, to classical, as well as ‘Standards’ from the Great American Songbook – and that knowledge and appreciation informed his work,” they wrote. “He was a crucial co-writer on many of our most popular songs, including, ‘The Best of My Love,’ ‘New Kid in Town,’ and ‘Heartache Tonight.’ J.D. also collaborated on many of Don Henley’s solo works, including ‘The Heart of the Matter,’ ‘Little Tin God,’ ‘If Dirt Were Dollars’ and ‘Talking to the Moon.’”

According to a statement on his official website, John David “JD” Souther — also known for his collaborations with Linda Ronstadt, James Taylor, Dan Fogelberg, Bonnie Raitt, Roy Orbison and for his acting roles in My Girl 2 and Postcards From the Edge — died peacefully at his home in New Mexico on Tuesday. Souther’s longtime friendship with Frey resulted in his collaborations on many Eagles songs, including “James Dean” and “Doolin-Dalton,” helping to make Souther — whose voice bore an eerily similar tone to Frey’s — a staple of the 1970s California country-rock scene.

“We mourn his loss and we send our condolences to his family, his friends, and his many fans around the world,” the Eagles added. “He was an extraordinary man and will be greatly missed by many. Adios, old friend. Travel well.”

Former Eagles guitarist/vocalist Don Felder also posted a tribute, writing, “It is with heavy heart to start the day with the news of JD’s passing. The invisible Eagle has left the nest. His writing contribution and vocal contributions to the music industry has been a blessing to the whole world. He will be missed but his songs will live on forever.”

Souther was inducted into the Songwriters Hall of Fame in 2013, but never reached the pinnacle of success with his solo work as the Eagles’ lofty heights, landing his biggest chart success with his 1979 No. 7 Billboard Hot 100 single “You’re Only Lonely.”

Donations in Souther’s honor can be made to the Best Friends Animal Society.

Nashville Event Prompts Indie Agents to Flag FTC About New Ticket Scalping Tech

The Federal Trade Commission is being urged to investigate technology companies that create tools for ticket scalpers that violate existing laws and drive up the price of concert tickets.  

The warning and call to action comes by way of a letter signed by National Independent Talent Organizations president Jack Randall and executive director Nathaniel Marro, taking aim at the World Ticket Summit. Held in Nashville earlier this month, the annual conference is organized by the National Association of Ticket Brokers, the country’s largest member organization for professional ticket resellers and individuals who list and resell tickets on sites like StubHub and SeatGeek. 

At this year’s summit, members of NITO – which represent independent talent agencies and management companies including Arrival Artists, High Road Touring, Paladin Artists, Q Prime, Red Light Management and TKO – “observed a sold-out exhibition hall filled with vendors selling and marketing products designed to bypass security measures for ticket purchases, in direct violation of the BOTS Act,” a Sept. 9 letter to Federal Trade Commission chair Lina Khan reads. 

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That technology includes web browser extensions that set up multiple tabs masking a user’s IP address, proxy services that allow users to be logged in to multiple ticketing accounts from one location and virtual credit card services that bypass geographical restrictions on ticket sales, which are often put in place by event organizers to ensure fair access for local fans. 

According to the letter, the use of this type of technology to procure concert tickets is a violation of the Better Online Ticket Sales (BOTS) Act of 2016 which prohibits scalpers from using technology that circumvents “a security measure, access control system, or other technological measure used to enforce ticket purchasing limits for events with over 200 attendees.” 

Put more simply, most ticketing companies place a cap on how many tickets a fan can buy for a concert and the use of automated bots, proxy servers, VPNs and phantom credit cards to exceed purchase limits is a violation of the BOTS Act. 

“The presence of these vendors at a conference specifically for ticket brokers strongly suggests that a substantial portion of attendees either currently use these services or are likely to do so in the near future,” the letter reads. “This widespread availability and apparent demand for tools that can circumvent ticket purchasing limits indicates that many, if not most, scalpers are operating in violation of the federal BOTS Act.” 

The NATB’s executive director Gary Adler issued a lengthy statement in response to NITO’s letter, writing “The vast majority of technology exhibitors at the conference were inventory management systems that help ticket companies organize their tickets, offer them for resale, and help with pricing.” 

“There are many friction points in ticketing,” Adler continued “and high-tech ways that players in the system try to monopolize every dollar spent on ticketing and to prevent the resale of tickets. For more than half of events there are lower cost options on the secondary market and some in the primary market don’t like seeing their previously sold tickets being offered for resale at deep discounts. Artists, venues, and primary ticketers abuse technology every day to create fake scarcity and deceive consumers into paying higher prices when really, they are secretly holding back tickets to slowly drip more on sale over time to cheat and fool the fan. This is most likely an illegal deceptive marketing and advertising practice, driven by artists, venues, and primary ticketing companies, that the FTC should immediately investigate.” 

Adler notes that the NATB “advocated for the passage of the BOTS Act in 2016 as we fully support the banning of bots. There is no place in the system for illegal bot use. We stand for doing resale the right way and passing strong laws to protect fans and competition across the ticketing industry. If any exhibitors were offering technology that violates the BOTS Act, we want to know as they will not be welcomed back.”   

Since its passage in 2017, the BOTs Act has only been enforced one time, in 2021, when three New York-based ticket brokers were charged with violating the law. The government’s enforcement of the BOTS Act has been an “abysmal failure” writes songwriter and music industry analyst Chris Castle, noting that StubHub’s scheduled IPO this fall was a tell-tale sign that the BOTS Act was “under-enforced.” 

“Let’s face it – if there were no bots and no boiler room operations, StubHub probably wouldn’t have much of a business,” Castle wrote. Lawmakers including Sen. Marsha Blackburn (R-Tenn.) have introduced legislation like the Mitigating Automated Internet Networks for (MAIN) Event Ticketing Act of 2023 which would force ticketing companies to be more proactive about reporting BOT usage, but those efforts have largely stalled in Congress. 

NITO’s letter includes eight recommendations for rights holders and the FTC, calling for the regulator to subpoena the customer lists of “companies offering services that fall into the categories likely to facilitate BOTS Act violations” as well as increased enforcement actions, prioritizing “investigations into large-scale ticket reselling operations, focusing on those using multiple technologies to circumvent purchasing limits.” 

By implementing these recommendations, the letter explains, “rights holders and the FTC can take significant steps towards curbing BOTS Act violations and ensuring fairer access to event tickets for consumers.”

Maria Becerra, Fuerza Regida, Xavi & More Set to Perform at 2024 Billboard Latin Music Awards

Billboard and Telemundo have unveiled the first wave of performers set to take center stage at the 2024 Billboard Latin Music Awards on Sunday, Oct. 20.

Bringing their latest collaborations and hit singles to the awards ceremony are confirmed acts Fuerza Regida, Grupo Niche, Luis Alfonso, Maria Becerra, Xavi and Yandel. The announcement comes one week after the Billboard Latin Music Awards revealed its 2024 finalists.

With eight entries, including artist of the year, Fuerza Regida is one of the top finalists at the awards show. Xavi is a seven-time finalist, and both Grupo Niche and Yandel have one entry.

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Karol G leads the list with 17 entries in categories including artist of the year, tour of the year, Global 200 Latin artist of the year, and top Latin album of the year for Mañana Será Bonito (Bichota Season). 

The Colombian superstar is followed by Bad Bunny and Peso Pluma with 15 nods each. Bunny competes, among others, for artist of the year, global 200 artist of the year, and tour of the year. While La Doble P is also up for artist of the year, global 200 artist of the year, in addition to songwriter of the year, and regional Mexican album of the year for Éxodo. 

The 31st annual ceremony will be broadcast at 9 p.m. ET on Sunday, Oct. 20 via Telemundo. It will simultaneously be available on the Spanish entertainment cable network Universo, on Peacock and the Telemundo app, and in Latin America and the Caribbean through Telemundo Internacional.

The Billboard Latin Music Awards — the only awards that recognize the most popular albums, songs and performers in Latin music, according to Billboard‘s weekly charts — coincide with Billboard Latin Music Week, which returns to Miami Beach Oct. 14-18 with a roster of star speakers including Alejandro Sanz, Gloria Estefan, Danny Ocean, Peso Pluma and many more. Get your tickets today for the Billboard Latin Music Week 2024 here.

Juice WRLD Posthumously Debuts Two Songs on Billboard’s Charts

Juice WRLD (born Jarad Higgins) died on Dec. 8, 2019 at age 21 due to an accidental oxycodone and codeine intoxication. Since then, his estate has consistently released new music from the late musician to the degree that he’s charted more songs since he died than he did while he was alive.

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Juice WRLD’s estate released two new songs on Sept. 9 packaged together as part of the rapper’s The Pre-Party, titled “World Tour (Aquafina)” and “Lightyears” featuring Young Thug.

Both songs debut on Billboard’s latest Hot R&B/Hip-Hop Songs chart (dated Sept. 21) at Nos. 34 and 39, respectively. He’s now charted 87 total songs on the chart. Of those, only 29 debuted while he was living.

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Juice WRLD teased both songs on social media while he was still living. In 2018, he previewed “World Tour (Aquafina)” on Instagram Live, rapping “I’m a real n—a, nah, I’m not an actor/ Double cup with that red lean, I’ma sip classy/ Dior on my feet, I feel classy.” Juice and Young Thug both teased “Lightyears” before the COVID shutdown in February 2020.

Both songs are slated to appear on Juice’s forthcoming The Party Never Ends album, which Billboard reported is expected to be the rapper’s third and final posthumous album. His first posthumous LP, Legends Never Die, spent two weeks at No. 1 on the Billboard 200 chart in July 2020. His second, Fighting Demons, debuted and peaked at No. 2 on the chart in December 2021. While he was alive, Juice earned three top five albums on the Billboard 200: Goodbye & Good Riddance (No. 4; 2018), Future & Juice WRLD Present…WRLD on Drugs with Future (No. 2; 2018) and Death Race For Love (No. 1; 2019).

On the Billboard Hot 100, Juice has charted 80 total songs, most recently with “Lace It,” with Eminem and Benny Blanco, in December (No. 85 peak). Of those, 25 debuted while he was alive.

Of course, many other artists have posthumously debuted on Billboard’s charts. Eight artists even earned posthumous Hot 100 No. 1s, including: Otis Redding, Janis Joplin, Jim Croce, John Lennon, The Notorious B.I.G., Soulja Slim, Static Major and XXXTentacion. On the Billboard 200, the late Brooklyn rapper Pop Smoke landed his second No. 1 album in 2021 (with Faith) after he was murdered in 2020. 2Pac, who was murdered in 1996, earned eight top 10 albums following his death, including three No. 1s.

Wendy Williams Was Only Paid $82K For Controversial Documentary

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The Wendy Williams saga continues. Her representatives claim she was only paid $82,000 for the controversial documentary on her life.

As spotted on Huffington Post the media mogul’s caretakers are taking action against the production company who developed the Lifetime series Where Is Wendy Williams?. Released earlier this year the four part project gave her fans a behind the scenes look into the rollercoaster life of the former talk show host. The footage showed that the Ocean Township, New Jersey native was dealing with mental health issues, alcohol abuse as well as being placed under guardianship. Ultimately a large portion of her fanbase felt that the documentary showed her in a poor light.

Earlier this week Wendy Williams’ legal team filed a suit against the state the procedures alleging they  “viciously and shamelessly exploited” her and depicted her “in a highly demeaning and embarrassing manner. According to court documents she was only paid $82,000 for her participation and her rights. “This is a paltry sum for the use of highly invasive, humiliating footage that portrayed her in the confusing throes of dementia, while Defendants, who have profited on the streaming of the Program have likely already earned millions,” the filing reads. “As our complaint shows in painful and excruciating detail, A&E, Lifetime and Mark Ford viciously and shamelessly exploited Wendy Williams for their own profit while she was obviously incapacitated and suffering from dementia,” said Kaplan Martin LLP and Cadwalader, Wickersham & Taft LLP in an exclusive statement.

In turn her team is looking for the production company to forfeit all earnings on the project to cover her medical expenses. The defendants have yet to formally respond.

Bresh Partners With Carroll Street Capital to Launch Bresh Global

In a bid to further grow its operation and expand its international footprint, Bresh — the brand behind the Fiesta Bresh parties — has partnered with New York based investment firm Carroll Street Capital.

The two companies will launch Bresh Global, an international media and branded live events platform. Carroll Street will provide an infusion of cash as well as strategic access and support to continue growing the Bresh brand, whose global presence has multiplied in the past two years. The terms of the deal were not disclosed.

Bresh’s leadership will remain in place, with Tomás Allande as CEO, Alejandro “Bröder” Saporiti as artistic director, and founder Jaime James involved in all operations.

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Eduardo García Fernández, co-founder and managing partner of Carroll Street Capital will now also be chairman of Bresh global.

Bresh Global will establish its headquarters in Miami, with additional offices in Los Angeles. The company currently has offices in Buenos Aires and Madrid.

“Our mission at Bresh Global is to create human connections through entertainment and collective experiences,” said Jaime James in a press release. “In a world increasingly dominated by digital interactions, live events have the unique power to bring people together and transcend cultures. With this expansion, we aim to bring moments of joy to new audiences on a global scale.”

“We are excited about the opportunity to elevate Bresh to new heights,” added Eduardo García Fernández. “This partnership brings additional resources to Bresh to accelerate its growth and introduce new verticals and formats worldwide.”

Bresh, whose slogan is “The most beautiful party in the world,” is an entertainment company known for parties targeted at Gen Zs around the world and built on the concept of inclusivity rather than exclusivity. Bresh tickets are eminently affordable — in Miami, the cheapest ticket is $25 — and there is no doorman denying entry based on gender or looks. Instead of hiring celebrity DJs for its parties, all Fiesta Bresh DJs are Bresh-trained. Perhaps because of its inclusivity DNA, the parties have become magnets for Latin celebrities, including the likes of Lionel Messi, Emilia and Tini, Rauw Alejandro and Bizarrap, who have all been spotted at Bresh parties.

Bresh, which began hosting parties in Argentina, has expanded its operations to over 20 countries, and now puts together some 500 annual events, including in the U.S. and Spain.

Sources say Bresh and Carroll have been in conversations for the past two years and share the vision that “happiness and connections are essential, regardless of who you are or where you live.”

Ex-Memphis Cop Involved In Tyre Nichols Death Testifies: “He Wasn’t A Threat”

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Sierra Rogers Makes Adjustments At A Makleshift Memorial For Tyre Nichols In Memphis, Tennessee

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Not that we needed confirmation that Tyre Nichols, the victim of arguably one of the most vicious police brutality attacks ever recorded, wasn’t a threat to the five Memphis police officers who allegedly beat him to death during a January 2023 stop, but one of the officers testified Monday that Nochols’ killing didn’t need to happen because, in fact, he “wasn’t a threat.”

According to the Associated Press, ex-officer Emmitt Martin III who pleaded guilty last month to using excessive force and failing to intervene in the unlawful assault, as well as conspiracy to cover up his use of unlawful force took the stand in the federal trial of his former co-workers, Tadarrius Bean, Demetrius Haley and Justin Smith, all of whom have pleaded not guilty to charges accusing them of depriving Nichols of his civil rights through excessive force and failure to intervene, and obstructed justice through witness tampering. The fifth former officer, Desmond Mills Jr., also took a plea deal in exchange for testimony against Bean, Haley and Smith.

From AP:

For the first time in the trial, jurors heard from one of the officers who beat Nichols. Martin said he and his former colleagues — members of the Scorpion Unit, a Memphis police team that looked for drugs, illegal guns and violent criminals — would justify the force they used against a person by exaggerating the person’s actions against them. The unit was disbanded shortly after Nichols’ death.

Martin said he saw Nichols speed up to beat a red light and then change lanes without signaling, leading Martin to follow Nichols with his police car lights on. Haley eventually stopped Nichols’ Nissan, pulled out his gun and snatched Nichols from his vehicle without telling Nichols why he was stopped.

Martin also had his gun out, and joined Haley in trying to restrain Nichols while yelling various conflicting commands, such as telling Nichols to give the officers his hands, turn on his stomach and put his hands behind his back.

Meanwhile, Nichols was passively resisting the officers in a non-aggressive manner — by pulling his hands away from the officers, who were trying to handcuff him without telling him why, Martin said.

Cops always seem to be surprised and offended when a citizen, especially a Black citizen, wants to know why they’re being arrested before they just surrender willingly. It’s almost as if a police officer’s ego just can’t take their authority being challenged even when the challenge is reasonable. Nichols wanted to know why he was being taken in during a routine traffic stop, and he was killed for it.

“He wasn’t a threat,” Martin testified. “He was helpless.”

According to the New York Times, Martin also admitted that he punched and kicked the 29-year-old during the altercation, and he lied about it, confident that his fellow officers would back him up.

“I knew they weren’t going to tell on me,” Martin said. “And I wasn’t going to tell on them.”

A lot of “back the blue” advocates might be surprised to learn how often the “blue wall of silence” is all that separates police officers from common criminals. Of course, the streets has its own no-snitch policy, but no one on those streets committing violent crimes has the backing of a police union and a “justice” system that they can almost always count on to give them the benefit of the doubt.

“These are criminal defendants, they just happen to be police officers,” Kami N. Chavis, a law professor at the College of William & Mary and director of the school’s criminal justice program, told the Times. “The fact that they are testifying against their fellow officers says nothing about the code of silence. It says the code of silence is so strong it took a criminal proceeding in order for these officers to finally tell the truth.”

Martin acknowledged to prosecutors that he was testifying in hopes of receiving a more lenient prison sentence, but he also claimed he was turning on his fellow officers “just get this off of me.”

“I can’t sit here and live with a lie — the truth needs to come out,” he said. “It was eating me up inside to live with a lie.”

But if this case had just been a drop in a sea of police brutality cases that get swept under the rug regularly, would he still have been so guilt-ridden? Would he have offered up this mea culpa if he wasn’t facing any prison time at all?

All five ex-officers have been charged with second-degree murder in state court, and all of them pleaded not guilty, including Martin. AP noted that Martin and Mills are expected to change their pleas. A court date for their state trial has not yet been scheduled.