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Sean “Diddy” Combs has sued a man he says defamed him by falsely alleging he possessed videos of the embattled hip-hop mogul committing sexual assault, causing him “profound reputational and economic injury and severe prejudice” ahead of his criminal trial.
In the complaint, filed in New York federal court on Wednesday (Jan. 22), Combs accuses Courtney Burgess, along with Burgess’ attorney Ariel Mitchell, of “pretending they have proof that Mr. Combs engaged in heinous acts, knowing that no such proof exists” — thereby leading “millions of people … to believe in the made-up ‘evidence’ that Defendants have falsely described and vouched for.”
Mitchell notably represents several of Combs’ accusers.
“Defendant Burgess falsely claimed that he possessed videos of Mr. Combs involved in the sexual assault of celebrities and minors,” write Combs’ attorneys Michael Termonte, Erica Wolff and Anna Estevao of the New York firm Sher Tremonte. They add that Mitchell then “repeated those lies” to media outlets while knowing all along that Burgess’ claims “were false, or at a minimum was utterly reckless in disregarding their falsity.” The complaint accuses both Burgess and Mitchell of seeking “to capitalize on the resulting publicity for financial gain” despite knowing that “no such tapes exist.”
Also named as a defendant in the lawsuit is cable network NewsNation, which the lawsuit claims “recklessly repeated and amplifed [Burgess’] lies as if they were true” without ever reaching out to Combs’ representatives for comment or verifying that the alleged videotapes existed in the first place.
To bolster their case, Combs’ attorneys attempt to discredit Burgess by referring to him as “a fringe character” who claims to have worked in the music industry “for decades” even though “there exists no public record of any professional achievements and he left no detectable footprint on the industry prior to his recent campaign to malign Mr. Combs.” They further allege that despite Burgess’ claims that he received the alleged videos from Combs’ late ex-girlfriend Kim Porter, he in fact had “no more than a passing acquaintance” with her.
Combs’ attorneys also claim that Burgess tried to capitalize on the highly publicized allegations swirling around Combs by posting a memoir allegedly written by Porter to Amazon, which they say later pulled the book after it “was denounced by Ms. Porter’s family and others as a fake,” according to the suit.
The lawsuit equally tries to discredit Mitchell — known for filing sexual assault cases against powerful men including Trey Songz, Chris Brown and Combs himself — by claiming her cases against Songz and Brown were disproven and that in “peddling false claims to media outlets” like NewsNation about the alleged videotapes of Combs, she “insisted on valuable benefits and payments in exchange for interviews, including first class air travel, four-star hotel accommodations, hair and makeup allowances, and a ‘materials fee’ for copies of, among other things, demand letters sent on behalf of one of her clients who sued Mr. Combs.”
They add that Mitchell spread her alleged lies about Combs far and wide, including in multiple NewsNation appearances and in a documentary about Combs titled The Making of a Bad Boy that aired on NBC’s Peacock streaming service earlier this month. (NBC is not named as a defendant in the lawsuit.)
“Defendants made these false and defamatory statements in bad faith, as part of a deliberate effort to damage Mr. Combs’s reputation, undermine his businesses and, by painting him as debauched and a pedophile, to poison the public’s perception of him and deprive him of a fair trial,” Combs’ attorneys conclude.
Combs is asking for “not less” than $50 million in damages.
Burgess, Mitchell and NewsNation did not immediately respond to Billboard‘s requests for comment.
Combs is currently imprisoned at the Metropolitan Detention Center in Brooklyn ahead of his criminal trial, which is set to kick off on May 5. He is charged with running a multi-faceted criminal enterprise in order to satisfy his need for “sexual gratification.” Among other accusations, he is alleged to have held so-called “freak off” parties, during which he and others drugged victims and coerced them into having sex. He faces a potential life prison sentence if convicted on all charges.
Artists such as Ariana Grande, Dua Lipa, Megan Thee Stallion and Conan Gray helped Weverse, HYBE’s social media/fandom platform, grow its users by 16% in both the U.S. and Canada in 2024, the company announced Wednesday (Jan. 22). Weverse users also saw strong growth elsewhere, rising 21% in Brazil, 14% in Mexico, 22% in Japan and 54% in Taiwan. Originally a platform for K-pop groups, the platform has grown along with HYBE’s global expansion and posted 19% user growth across all territories.
Those statistics and more come from the new 2024 Weverse Fandom Trend Report, a recap of the platform’s tremendous growth and a testament to fans’ interest in their favorite artists. Joon Choi, president of Weverse Company, called 2024 “a transformative year” that expanded the platform’s artist communities, fan engagement and commerce activities. “Weverse remains committed to innovating its services to meet the evolving needs of artists and fans, solidifying its position as the center of global fandom culture,” he said in a statement.
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As much of the music industry begins to focus on better serving superfans, Weverse has already established itself as a money-making destination for fans of a select group of artists. The platform launched in 2019 and last year introduced a subscription tier that provides ad-free viewing, video downloads for offline access, high-quality streaming and language translation. “Digital membership, we believe, is the very first cornerstone of the future evolution [of Weverse],” Choi told Billboard in December.
Like a typical social network, Weverse allows artists to publish messages and content and gives fans an opportunity to leave comments. In 2024, Weverse Artists on the Weverse platform shared approximately 206,000 posts and fans generated 370 million posts. SEVENTEEN had the highest number of posts while ENHYPEN had the most comments. The platform also allows fans to send direct messages to artists — a perk for subscribers. Last year, artists sent 698,000 direct messages to fans and fans sent 96.36 million messages to artists. More than half (55%) of artists on Weverse send direct messages to fans at least every two days. Fans also sent 4.88 million personally decorated digital letters. Jung Kook received the most fan letters while LEEHAN of BOYNEXTDOOR responded to the most fan letters.
Weverse also hosted 5,787 live broadcasts on Weverse Live, the platform’s live streaming feature, totaling 4,779 hours of content in 2024 (artists don’t only live stream concert performances on Weverse Live and in fact usually opt for casual interactions and Q&A sessions with fans). Weverse Live videos were viewed 426 million times by 11.25 million unique Weverse users in 2024, while the top live stream of the year was “Missed You a Lot” by Jung Kook, which amassed 23 million real-time views.
E-commerce separates Weverse from a typical social network. Through Weverse Shop, Weverse sold 20.6 million pieces, a 13% increase from 2023. Physical merchandise such as albums and collectibles improved 10%, while Weverse Shop also sold 3.4 million pieces of digital merchandise, including artist memberships and online content, a 24% increase. Other than Weverse’s home market of South Korea, the United States and Japan were the top markets for merchandise. The top-selling digital items were artist memberships: BTS ARMY memberships were most popular in Oceania, Latin America and Europe while SEVENTEEN’s CARAT memberships were most popular in North America.
The Rock & Roll Hall of Fame wants a federal judge to toss out a copyright lawsuit over an image of Eddie Van Halen, arguing that it made legal fair use of the image by using it as part of a museum exhibit designed to “educate the public about the history of rock and roll music.”
The lawsuit, filed last year, claims the Rock Hall never paid to license Neil Zlozower’s image — a black-and-white photo of late-’70s Van Halen in the recording studio — before blowing it up into an eight-foot-tall display in the Cleveland museum.
But in a motion to dismiss the case filed Tuesday (Jan. 21), the Rock Hall says it didn’t need to. Attorneys for the museum say the offending exhibit was protected by “fair use”, a rule that allows copyrighted works to be reused legally in many contexts, including education and commentary.
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“RRHOF transformed plaintiff’s original band photograph by using it as a historical artifact to underscore the importance of Eddie Van Halen’s musical instruments,” the Hall’s attorneys write. “RRHOF operates a museum, and it displayed the image in service of its charitable mission to educate the public about the history of rock and roll music.”
Zlozower filed his case in October, claiming the Hall made an “exact copy of a critical portion of plaintiff’s original image” for the exhibit, which he claimed “did not include any photo credit or mentions as to the source of the image.”
The Rock Hall is just the latest company to face such a lawsuit from Zlozower, who also snapped images of Led Zeppelin, The Rolling Stones, Michael Jackson and Bruce Springsteen over a decades-long career. Since 2016, court records show he’s filed nearly 60 copyright cases against a range of defendants over images of Elvis Costello, Guns N’ Roses, Mötley Crüe and more.
In the current dispute, the Van Halen image was used in two exhibits: “Play It Loud: Instruments of Rock & Roll” and “Legends.” Focused on musical instruments used by famed rockers, the exhibits featured sections showing Van Halen’s guitars, amplifiers and other gear. In the display, the original photo of the band was cropped to show just Eddie holding one of the guitars, which was placed amid the exhibit’s objects and informational placards.
In their motion to dismiss the case, the Rock Hall’s attorneys say the museum made a “transformative use” of Zlozower’s original image — a key question when courts decide fair use. They say the Hall used it not simply as an image of the band, but “to contextualize Eddie Van Halen’s instruments on display in the museum as historical artifacts.”
“RRHOF incorporated a portion of plaintiff’s photograph displayed next to the exhibition object, as one piece of source material to document and represent the use of the guitar,” the museum’s lawyers write. “This proximal association between source material and exhibition object helps visitors connect information and delve more deeply into the exhibition objects.”
In making that argument, the Hall’s attorneys had a handy piece of legal precedent to cite: A 2021 ruling by a federal appeals court tossed out a copyright lawsuit against New York City’s Metropolitan Museum of Art over the use of another image of Van Halen in a different exhibit on the same famous set of guitars.
In making that ruling, the appeals court said the Met had clearly made “transformative” fair use of the image by displaying it alongside the exhibit: “Whereas [the photographer]’s stated purpose in creating the photo was to show ‘what Van Halen looks like in performance,’ the Met exhibition highlights the unique design of the Frankenstein guitar and its significance in the development of rock n’ roll instruments,” the appeals court wrote at the time.
That earlier ruling is not technically binding on the case against the Rock Hall, which takes place in another region of the federal court system. But such an uncannily on-point ruling could certainly be influential on the judge overseeing the current case.
An attorney for Zlozower did not immediately return a request for comment.
Limp Bizkit has suffered a setback in its $200 million lawsuit against Universal Music Group, with a federal judge ruling that the band cannot legally void its contracts of “nearly 30 years” over accusations of underpaid royalties.
The blockbuster case, filed last year in Los Angeles federal court, claims that frontman Fred Durst and the band have “not seen a dime in royalties” over the years. Among other claims, the lawsuit argued that the band is therefore entitled to a ruling of “rescission” that terminates its deals with UMG.
But in a decision Friday (Jan. 17), Judge Percy Anderson ruled that the band had in fact been “paid millions in advances” and that UMG had fronted “substantial sums” to record and distribute Limp Bizkit’s albums – meaning the band doesn’t deserve the drastic remedy of terminating the decades-old deals.
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“Plaintiffs seek rescission of contracts that have governed the parties’ relationship beginning in 1996 – nearly 30 years – because the agreements should be rescinded as fraudulently induced,” the judge wrote. “Plaintiffs have not plausibly alleged the type of ‘substantial’ or ‘total failure’ in the performance of the contracts that could support rescission of the parties’ agreements.”
The ruling isn’t a total defeat. Judge Anderson didn’t reach many of the lawsuit’s other legal claims, including fraudulent concealment and intentional misrepresentation, and gave Limp Bizkit’s lawyers a chance to fix the rescission claim. But the judge’s wording suggested he will be skeptical of revoking a contract when “millions in royalties were advanced and paid under decades-old agreements.”
If finalized, the decision is something of a double blow for Durst’s lawsuit. It would not only reject his efforts to rescind the contracts, but would sink one of his other core allegations: that UMG has infringed Limp Bizkit’s copyrights. Such a claim — which could carry a huge damages award — can only succeed if the band’s contracts are voided and it legally regains its ownership of the copyrights, the judge wrote.
That could also mean the case is headed to another court entirely. If Limp Bizkit’s lawsuit no longer contains federal copyright claims, a federal court would no longer have jurisdiction over the case, meaning the lawsuit’s remaining accusations against UMG would need to be refiled in a state court.
In a statement to Billboard on Wednesday, attorneys for Durst and Limp Bizkit downplayed the impact of the ruling, noting that the court had “upheld a majority of our claims” and given them a second shot at the rejected claims.
“The facts speak for themselves,” said Frank Seddigh, the band’s lead attorney. “Universal will be held accountable for its actions and will not get away with its conduct at the expense of artists.”
A spokesman for UMG declined to comment.
Durst and Limp Bizkit sued in October, claiming the band had “never received any royalties from UMG,” despite its huge success over the years: “The band had still not been paid a single cent by UMG in any royalties until taking action.”
That claim was something of a stunner. How had one of the biggest bands of its era, which sold millions of records during the music industry’s MTV-fueled, turn-of-the-century glory days, still never have been paid any royalties nearly three decades later?
According to Durst, the answer was an “appalling and unsettling” scheme to conceal royalties from artists and “keep those profits for itself.” He claimed UMG had essentially kept Limp Bizkit in the red with shady bookkeeping, allowing the label to falsely claim the band remained unrecouped — meaning its royalties still had not surpassed the amount paid in upfront advances.
UMG hit back a month later, calling the allegations “fiction” and demanding they be thrown out of court. The music giant’s attorneys argued that Limp Bizkit’s own legal filings contradicted the accusation that the band had not been paid: “Plaintiffs concede thereafter receiving millions of dollars in payments.”
Following Friday’s decision, Limp Bizkit has until early next month to refile an amended version of the lawsuit.
The South by Southwest Music Festival has announced the third round of Showcasing Artists invited to perform at the 39th annual event, March 10-15, 2025, in Austin.
The third announcement includes several powerhouse SXSW alumni like Sunflower Bean, Holy Fuck, and Jack’s Mannequin. The diverse lineup includes from chart-topping alt-reggaeton act NSQK from Mexico and energetic J-Pop boy band PSYCHIC FEVER. Everything from Latin favorites like Sofía Reyes, Amantes Del Futuro, La Cendejas and st. Pedro to acclaimed Taiwanese artists including Andr, TRASH, Amazing Show, and Enno Cheng.
Other highlights include rising hip-hop star Samara Cyn, ethereal songstress Quiet Light, award-winning musician-activist Madame Gandhi, rebel psych-rock band Frankie and the Witch Fingers, and the new project from Núria Graham and Aoife Nessa Frances called Red Stamp. Also on the lineup are multi-sensory experimental artist BLACK FONDU, ambient Thai collaborators NISATIWA X NOTEP, funk-soul seven piece brass band SNACKTIME, and Muri, a magnetic force redefining Filipino music. Japanese artists include neo-soul, city pop ensemble Luv, high energy punk-rock band ENTH, and metal band with heavy sound and light lyrics, GOKUMON (UchikubiGokumonDoukoukai).
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“The momentum continues to build with our third reveal,” said James Minor, VP of Music Festival. “Each act lends a unique and dynamic voice to the lineup, with both new and established artists from around the world creating a real sense of anticipation for the March event.”
Many of SXSW’s showcases are curated by SXSW programmers in collaboration with record labels, booking agencies, export offices, music publishers, media outlets, lifestyle brands and more. These showcases give attendees the opportunity to experience sets in exclusive, small-stage performances. A sortable airtable that contains information on each artist’s genre, publicist contact information, and social media pages can be found here.
Starting January 30th, SXSW staff will be sharing weekly artist round-ups on the official SXSW Spotify and YouTube Music Video playlists. Yesterday, SXSW announced Rock and Roll Hall of Famer and Grammy Award-winning lead singer for Creedence Clearwater Revival John Fogerty and Bluesky CEO Jay Graber as Keynote Speakers, in addition to the third round of Featured Speakers.
The American Music Tourism Act, Mitigating Automated Internet Networks (MAIN) for Event Ticketing Act, and Helping Independent Tracks Succeed (HITS) Act have all been re-introduced to the Senate. Recently, the American Music Tourism Act was also re-introduced to Congress. Each year, bills that have not yet passed must be re-introduced to the House and the […]
Roc Nation is expanding its music business portfolio with a trailblazing partnership. The Roc has teamed up with South Korean fintech company Musicow to launch what it describes as the first Music Equity Service Provider in the United States. Musicow aims to offer Americans the opportunity to invest in music royalties. This partnership allows music […]
Music AI, a developer of artificial intelligence for music and audio, announced Wednesday it raised $40 million in a funding round led by Connect Ventures, a partnership between CAA and venture capital firm NEA, and Brazilian investor monashees, which also participated in Music AI’s seed around.
Other participants in the funding round include Kickstart, Samsung Next, Toba Capital, Valutia, Pelion and such music industry professionals as songwriter/producer Freddy Wexler, DJ/producer 3LAU and singer/songwriter Alexander23.
“Securing this Series A funding underscores the real-world impact our technologies have on the creative industry,” Geraldo Ramos, CEO of Music AI, said in a statement. “We’re ready to advance our mission of making music innovation accessible to all, and we’re eager to explore new possibilities with a focus on practical applications.” Founded by Ramos, Eddie Hsu, and Jardson Almeida, Music AI has a team of over 90 collaborators in the U.S., Brazil and Europe.
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Some AI companies have run into legal problems from music rights owners intent on preventing unauthorized use of their recordings and musical works to train generative AI models. Suno and Udio, for instance, were sued in the U.S. by the major labels for copyright infringement in June 2024, and Suno was sued on Monday by German performing rights organization GEMA in a Munich regional court. Music AI distances itself from those controversies, calling its products “ethical AI solutions” for the creative process such as stem separation, voice transfers, lyric transcription and mixing and mastering. The company’s technologies, including Music.ai and Moises.ai, have over 50 million users.
“We are deeply committed to partnering with ethically led AI companies that appropriately credit and compensate creators for usage of their work,” Michael Blank, managing partner at Connect Ventures, said in a statement. “Music AI’s talent-friendly approach and unparalleled technology is helping them become the trusted and premier AI platform of the music industry. Beyond empowering artists, Moises enhances the creative process for musicians, producers, and content creators worldwide for practice, creation, and collaboration.”
Samsung Next is interested in Music AI’s models’ ability “to run directly on hardware for faster performance, reduced latency and reduced cloud dependency,” said Carlos Castellanos, investor at Samsung Next. “Their proprietary models, third-party integrations, and on-device AI capabilities ensure reliability, security, and scalability across smartphones, smart TVs, and other connected devices—all while elevating the end-user experience with cutting-edge features.”
Música mexicana hitmaker Gabito Ballesteros has signed with George Prajin‘s Double P Management, Billboard can announce. The 25-year-old artist and producer — known for co-writing corrido hits like “Lady Gaga” and “Presidente” — joins megastar Peso Pluma, Tito Double P and Santa Fe Klan on the company’s roster. “This has been an amazing journey so […]
BMG has named Johannes von Schwarzkopf as chief strategy officer and executive board member, effective January 1. Reporting to CEO Thomas Coesfeld, von Schwarzkopf will oversee global strategy, identify new business opportunities, including M&A, and lead BMG’s global licensing and synch operations. Since joining BMG in 2021, and gaining a promotion to senior vp of […]