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Limp Bizkit and frontman Fred Durst are suing Universal Music Group (UMG) over allegations that the label owes the band more than $200 million, with Durst’s lawyers writing that he had “not seen a dime in royalties” over the decades — and that hundreds of other artists may have been treated similarly.
In a lawsuit filed Tuesday (Oct. 8) in Los Angeles federal court, attorneys for Durst and the 1990s rap rock band accused UMG of implementing a “systemic” and “fraudulent” policy that was “deliberately designed” to conceal royalties from artists and “keep those profits for itself.”

“UMG’s creation of such a system, while holding itself out as a company that prides itself on investing in and protecting its artists, makes plaintiffs’ discovery of UMG’s scheme all the more appalling and unsettling,” Durst’s lawyers write, adding that “possibly hundreds of other artists” had also “unfairlyhad their royalties wrongfully withheld for years.”

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In a stunning claim, Durst alleges that as recently as August, Limp Bizkit had “never received any royalties from UMG,” despite the band’s huge success during its turn-of-the-century peak. The lawsuit said the band’s albums had all sold millions of copies, and that Limp Bizkit continues to have “millions of streaming users per month on Spotify alone.”

“Despite this tremendous ‘come back,’ the band had still not been paid a single cent by UMG in any royalties until taking action against UMG, leading one to ask how on earth that could possibly be true,” Durst’s lawyers write.

A spokesman for UMG did not immediately return a request for comment on Tuesday.

Durst claims that the current dispute dates to April when he retained new representatives who were “shocked” when he informed them he had “not received any money for any Limp Bizkit exploitations — ever.” He claims UMG had previously told him that he was not being paid because the band remained unrecouped — meaning its royalties still had not surpassed the amount the group had been paid in upfront advances.

“Durst explained that he had been informed by UMG that he had not received any royalty statements because UMG told him over the years that it was not required to provide them since his account was still so far from recoupment,” his lawyers write. “Durst’s representatives, suspicious that UMG was wrongfully claiming Plaintiffs’ accounts were unrecouped, suggested investigating further.”

When Durst’s reps contacted UMG, they say they learned that Limp Bizkit’s accounts actually held more than $1 million in royalties but that the label had “failed to alert” the band about the money. That prompted more suspicion about “UMG’s accounting and payment practices” and an investigation into Limp Bizkit’s records.

They didn’t like what they found. According to the lawsuit, UMG had allegedly failed to issue royalty statements at all during significant periods of the band’s history, including “during the height of Limp Bizkit’s fame.”

“UMG’s failure to issue royalty statements in particular from 1997-2004 — the height of the band’s fame and during periods in which they made record-breaking sales — with respect to its most popular albums suggests that UMG was intentionally concealing the true amount of sales, and therefore royalties, due and owing to Limp Bizkit in order to unfairly keep those profits for itself.”

The suggestion that the band’s albums are still unrecouped is also “highly suspect,” Durst’s lawyers write, citing the band’s huge commercial success during its early years: “Given that Limp Bizkit’s first three albums had already sold several million copies by the early 2000s, the recording funds and costs should have been quickly recouped, and UMG should have started paying royalties on those albums right away — not over twenty years later,” the lawsuit reads.

The lawsuit also points to potential “fraudulent accounting practices” that Durst’s attorneys claim were used by UMG to improperly keep the band in the red and avoid paying royalties.

“But where did this additional $199,676.00 charged to the account come from?” his lawyers write, referring to one such alleged inconsistency. “It seems to have come out of thin air to overdraft Limp Bizkit’s due and payable account in order to defraud Limp Bizkit and show an unrecouped account.”

When those issues were raised with UMG, the lawsuit says the label argued that Limp Bizkit had been paid $43 million in recoupable advances over the years, which explained why the royalties had not started flowing into the accounts until recently. Durst’s attorneys say the label eventually released $1.03 million to the band and $2.3 million to Durst’s Flawless Records, but that they’re owed far more than that.

“Given the vast amounts of money collected by UMG in relation to sales of Limp Bizkit’s and Flawless Records’ albums over the years … UMG is liable to plaintiffs for tens of millions of dollars in copyright infringement, if not more,” the lawsuit reads. “Indeed, Plaintiffs allege that the amounts owed to them by UMG following the rescission of these agreements will easily surpass $200 million.”

In technical terms, the lawsuit seeks not only allegedly unpaid royalties, but also a ruling voiding the band’s contract with the label, the return of the band’s copyrights to their recordings and copyright infringement damages over those rights.

This is The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between.
This week: A deep dive into the case against Diddy with the help of R. Kelly’s prosecutors; sexual abuse allegations against country star Garth Brooks; a judge refuses to rule on the rights to Jay-Z’s debut album; and much more.

THE BIG STORY: Diddy’s Case, Explained By R. Kelly’s Prosecutors

In many ways, the charges unveiled last month against Sean “Diddy” Combs mirror those brought in 2019 against R. Kelly, who was sentenced to 30 years in prison in 2022 after a jury convicted him of decades of abuse. Both cases center on allegations that a powerful musician broke federal racketeering laws – usually aimed at mobsters – by building essentially an organized crime syndicate aimed at facilitating his own sexual abuse.

So to understand more, I dove deep into the Combs case this week with Nadia Shihata and Maria Cruz Melendez, two of the lead prosecutors who tried the case against Kelly. Now in private practice, Shihata and Cruz Melendez discussed the Combs case with Billboard in separate interviews – about how a case like this is built, who else might face charges, and what the fight ahead will look like. Go read our full story here.

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Other top stories this week…

STUNNING ACCUSATIONS – Country music star Garth Brooks became the latest music industry figure to face abuse allegations, leveled by a unnamed woman who says he sexually assaulted her while she worked for him as a hairstylist. The case came with an unusual twist: the revelation that it was Brooks who had filed a mysterious John Doe lawsuit last month, seeking to block the publication of allegations that he called “extortion.” In a statement strongly denying the accusations, Brooks said he was “incapable” of such conduct and would “trust the system” to clear his name.

NO IDEA, YOUR HONOR – Martin Shkreli told a federal judge he couldn’t remember all the people with whom he shared copies of Once Upon a Time in Shaolin, an ultra-rare Wu-Tang Clan album that he once owned – and that it’s “highly likely” that other people still have copies of the (supposedly) one-of-a-kind work. The disclosure came amid a lawsuit filed against him by PleasrDAO, a digital art collective that purchased Once Upon after Shkreli forfeited it to prosecutors as part of his securities fraud conviction.

REASONABLE DOUBT DISPUTE – With a court-ordered auction looming to sell off Damon Dash’s one-third stake in Jay-Z’s Roc-A-Fella Records, the judge overseeing the case said he would not rule on a thorny question of copyright law. That is: Can Jay-Z use copyright termination to retake control of the rights to his debut album Reasonable Doubt from Roc-A-Fella? That’s kind of a crucial question for the Dash auction, since the album is company’s only real revenue-generating asset. But the judge said the case was neither the time nor the place for such a ruling: “The court does not presently have jurisdiction over the validity of Carter’s copyright termination notice.”

THE PLAY MUST NOT GO ON – Ken Caillat, a music producer who worked on Fleetwood Mac’s Rumours, filed a copyright lawsuit against the creators of the hit Broadway play Stereophonic, claiming they stole material from his memoir about working on the legendary album. The lawsuit – which calls the play an “unauthorized adaptation” of his 2012 book — raises tricky questions about copyright protection and real-life stories.

R. KELLY AT SCOTUS – The U.S. Supreme Court refused to hear an appeal from R. Kelly over his 2022 convictions in Chicago on child pornography and enticement charges, leaving him with no further direct appeals from a verdict that saw him sentenced to 20 years in prison. The ruling effectively finalizes one of Kelly’s two sets of sex abuse convictions; the other — a September 2021 guilty verdict on racketeering charges brought by prosecutors in New York that resulted in a 30-year prison sentence — is still pending on appeal before a lower appellate court.

TIKTOK LAWSUIT – Attorneys general for more than a dozen states filed lawsuits against TikTok over allegations that the app – a key marketing tool in the modern music industry — is harming the mental health of young people. The lawsuits claim TikTok made its algorithm intentionally addictive, despite knowing that prolonged use will lead to “profound psychological and physiological harms” in children.

As the third quarter of 2024 comes to a close, a familiar label is atop the current market share standings: Republic, which for the second straight quarter maintains a market share north of 15%, a remarkable achievement.
But while the story of Republic’s second quarter was the dominance of Taylor Swift — whose Tortured Poets Department remains far and away the biggest album of the year so far, more than doubling the second-placed title and still going strong — the story of its third quarter is the huge surge of Island Records, which is included under Republic’s market share alongside Mercury Records, Big Loud Records, Cash Money and indie distributor Imperial.

Buoyed by the breakout successes of Sabrina Carpenter and Chappell Roan, Island posted a 3.81% current share (defined as released within the past 18 months) for the three months between June 27 and Sept. 26. If Island were broken out on its own, that would have been good for seventh among all labels for that period, which boosted its nine-month current market share to 2.15% — about 3.5 times higher than its current market share was through the first nine months of 2023, while that 3.81% mark for the third quarter was 6.5 times higher than for the corresponding three-month period in 2023. (With Carpenter’s Short N Sweet and Roan’s The Rise and Fall of a Midwest Princess at Nos. 1 and 2 on the Billboard 200 in this first week of the fourth quarter, that momentum is likely to continue.)

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That helped Republic post a 15.21% current market share through the first nine months of the year, itself a huge jump from its industry-leading 12.28% through three quarters of last year. But it wasn’t just Island: Republic itself is still floating on its TTPD high, while Post Malone’s F1-Trillion helped Big Loud and Mercury contribute to Republic’s share, too. And while Republic has receded slightly from the 15.72% it posted at midyear — when it outstripped the entire Warner Music Group — any label putting up a number higher than 15% is enjoying a massive year.

On the other coast, Universal Music Group’s other juggernaut, Interscope Geffen A&M, also saw a huge surge in the third quarter, which boosted its nine-month current share into double digits, as it posted a 10.13% share — up from 9.51% at the midyear mark and the 8.55% it held through the same period last year. The enduring success of Kendrick Lamar’s “Not Like Us” — which will get a Super Bowl-sized bump early next year, too — and Billie Eilish’s still-hot Hit Me Hard And Soft album helped Interscope become the only other label to reach higher than 10%. (Interscope’s share also includes Verve Label Group.)

The success of both Republic and Interscope — the two labels around which UMG reorganized earlier this year — helped parent company Universal improve more than two percentage points in current share over the same period last year, jumping from 34.61% through nine months in 2023 to 36.65% this year. That gain has come at the expense of the other two majors, which slipped a bit year over year: Sony Music Group dipped from 27.50% through the first nine months of 2023 to 25.89% through the first three quarters of 2024; while Warner Music Group dropped from 17.46% last year to 16.25% this year for the same period, though the latter recovered enough from its 15.68% mark at midyear to climb back above Republic Records.

Year over year, the indie sector by distribution ownership also grew, up to a 21.21% current share through the first nine month of this year, as opposed to 20.43% during the same period last year, a significant uptick; the biggest song of the year so far, Shaboozey’s “A Bar Song (Tipsy),” was released by indie EMPIRE. (EMPIRE does not report its market share to Luminate, so its individual share cannot be broken out.) By label ownership, the indie sector remains the biggest segment of the business, racking up a 37.09% current share of the market, though that has come down somewhat from the 39.49% it had through the same period in 2023.

Beyond Republic and Interscope, there is more good news from Warner Records (which includes catalog label Rhino and parts of Warner Nashville), as it stays on the hot streak it has been on for the entirety of 2024. Its 6.54% nine-month mark keeps it in third place once again, a full percentage point above fourth-placed Atlantic (which includes 300 Elektra Entertainment), which posted a 5.51% current mark, better than its first two quarters but still down significantly from its 7.39% mark at the three-quarter period of 2023. (Remarkably, despite coming out of the gate so hot this year, Warner Records hasn’t cooled down: its 6.98% third quarter was its best three-month period of the year.)

In fifth and sixth are a pair of Sony Music labels that move up a spot in the rankings year over year, though both dropped in market share over the same period last year: Columbia Records, which includes some RED labels in its share, posted a 4.41% current mark, a slight uptick from its midyear 4.35% but down from last year’s 4.93% nine-month mark, when it was sixth; and RCA, at 4.30%, a dip from the 4.64% it had nine months into 2023, though it is up from seventh to sixth for this quarter. Capitol Music Group, in seventh place so far this year, posted a 4.04% current share; through nine months of 2023, it was in fourth place, at 6.01%.

Epic Records, with several high-flying hip-hop releases this year from Future, boosts its share from 2.39% three quarters through 2023 to 2.79% through the first three quarters of this year, rising to eighth place; while Sony Nashville (2.10%, down from 2.50%) and Sony Music Latin (2.05%, up from 1.96%), round out the top 10 labels by current share.

Overall market share — which combines all a label’s releases in the marketplace, rather than just those of the past 18 months — rearranges the board slightly, though Republic (10.49%) and Interscope (9.98%) still lead the way, both with slightly improved totals from last year’s period. Atlantic’s vast catalog means that it leapfrogs Warner Records into third, with a 7.66% overall share (down from 8.31% last year), while Warner’s 6.86% — up from 6.63% in 2023 — sees it move from fifth place last year into fourth this year. Capitol and Columbia come in fifth and sixth, though in a virtual tie at 5.87%; Capitol edged out Columbia by three thousandths of a percentage point, essentially a rounding error. RCA (5.03%), Epic (2.75%), Sony Nashville (2.07%) and Universal Music Nashville (1.84%) round out the top 10.

Among the label groups, overall market share remained largely static year over year: UMG and Sony each inched up, to 38.47% and 27.25% respectively year over year, while Warner dipped slightly to 18.42% and the indies, at 15.85%, remained flat. The catalog side is largely the same story: UMG dipped two tenths of a percent year over year, while Sony gained half a point and WMG and the indies were down slightly. Among the individual labels, Interscope took the top catalog slot, jumping above Republic to take a 9.93% share of the market, with Republic’s 8.87% edging out Atlantic’s 8.39%.

More than a dozen states and the District of Columbia have filed lawsuits against TikTok on Tuesday, alleging the popular short-form video app is harming youth mental health by designing its platform to be addictive to kids.
The lawsuits stem from a national investigation into TikTok, which was launched in March 2022 by a bipartisan coalition of attorneys general from many states, including California, Kentucky and New Jersey. All of the complaints were filed in state courts.

At the heart of each lawsuit is the TikTok algorithm, which powers what users see on the platform by populating the app’s main “For You” feed with content tailored to people’s interests. The lawsuits also emphasize design features that they say make children addicted to the platform, such as the ability to scroll endlessly through content, push notifications that come with built-in “buzzes” and face filters that create unattainable appearances for users.

In its filings, the District of Columbia called the algorithm “dopamine-inducing,” and said it was created to be intentionally addictive so the company could trap many young users into excessive use and keep them on its app for hours on end. TikTok does this despite knowing that these behaviors will lead to “profound psychological and physiological harms,” such as anxiety, depression, body dysmorphia and other long-lasting problems, the complaint said.

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“It is profiting off the fact that it’s addicting young people to its platform,” District of Columbia Attorney General Brian Schwalb said in an interview.

Keeping people on the platform is “how they generate massive ad revenue,” Schwalb said. “But unfortunately, that’s also how they generate adverse mental health impacts on the users.”

TikTok does not allow children under 13 to sign up for its main service and restricts some content for everyone under 18. But Washington and several other states said in their filing that children can easily bypass those restrictions, allowing them to access the service adults use despite the company’s claims that its platform is safe for children.

Their lawsuit also takes aim at other parts of the company’s business.

The district alleges TikTok is operating as an “unlicensed virtual economy” by allowing people to purchase TikTok Coins – a virtual currency within the platform – and send “Gifts” to streamers on TikTok LIVE who can cash it out for real money. TikTok takes a 50% commission on these financial transactions but hasn’t registered as a money transmitter with the U.S. Treasury Department or authorities in the district, according to the complaint.

Officials say teens are frequently exploited for sexually explicit content through TikTok’s LIVE streaming feature, which has allowed the app to operate essentially as a “virtual strip club” without any age restrictions. They say the cut the company gets from the financial transactions allows it to profit from exploitation.

Many states have filed lawsuits against TikTok and other tech companies over the past few years as a reckoning grows against prominent social media platforms and their ever-growing impact on young people’s lives. In some cases, the challenges have been coordinated in a way that resembles how states previously organized against the tobacco and pharmaceutical industries.

Last week, Texas Attorney General Ken Paxton sued TikTok, alleging the company was sharing and selling minors’ personal information in violation of a new state law that prohibits these practices. TikTok, which disputes the allegations, is also fighting against a similar data-oriented federal lawsuit filed in August by the Department of Justice.

Several Republican-led states, such as Nebraska, Kansas, New Hampshire, Kansas, Iowa and Arkansas, have also previously sued the company, some unsuccessfully, over allegations it is harming children’s mental health, exposing them to “inappropriate” content or allowing young people to be sexually exploited on its platform. Arkansas has brought a legal challenge against YouTube, as well as Meta Platforms, which owns Facebook and Instagram and is being sued by dozens of states over allegations its harming young people’s mental health. New York City and some public school districts have also brought their own lawsuits.

TikTok, in particular, is facing other challenges at the national level. Under a federal law that took effect earlier this year, TikTok could be banned from the U.S. by mid-January if its China-based parent company ByteDance doesn’t sell the platform by mid-January.

Both TikTok and ByteDance are challenging the law at an appeals court in Washington. A panel of three judges heard oral arguments in the case last month and are expected to issue a ruling, which could be appealed to the U.S. Supreme Court.

Billboard‘s data partner Luminate has launched a new tool designed to measure artists’ influence for brand partnerships and more, the company announced Tuesday (Oct. 8).
Informed by Luminate’s industry-leading streaming data — which is pulled from all major music streaming platforms including Spotify, Apple Music and Amazon Music — along with its global consumer research insights, the tool, dubbed the Luminate Index, will provide “influence scores” for artists based on five areas: their music streaming footprint; their social media footprint; public awareness of the artist; their public appeal; and overall fan engagement in relation to their live shows and other events.

The tool was developed to allow brands, agencies, labels and others to help evaluate artists in terms of partnerships, endorsements, marketing campaigns, creative integration and more.

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According to Luminate, the 10 highest artist scores from the first iteration of the Luminate index for Q3 of 2024 are (out of 100):

Taylor Swift, 100

Adele, 92

Beyoncé, 91

Elton John, 90

Rihanna, 90

Eminem, 89

Shakira, 88

Ariana Grande, 88

Lady Gaga, 88

Dolly Parton, 87

In addition to the announcement of the index, Luminate revealed a new deal through which it will provide high-level insights and consultation to Sony Audio. According to a press release, Luminate has been “tasked with aligning deeper cultural connections between the [Sony] brand with relevant audiences across all forms of entertainment.”

“Existing at the center of all things entertainment and data, Luminate is uniquely positioned to see and analyze information that is invaluable in identifying cultural trends,” said Rob Jonas, CEO at Luminate, in a statement. “Beyond measurement, a job we take very seriously when it comes to verifying final data for the weekly Billboard Charts and the new Streaming Original Charts with Variety, we are a company that can extract insights across all areas of entertainment and fan engagement. Our goal with this new tool is to provide artists, brands, labels, talent representatives and more with intelligence that will allow them to make more informed business decisions.”

Added Jordy Freed, head of brand, business development & strategy, personal entertainment business at Sony Corporation of America: “As an audio brand heavily focused on music, entertainment, and culture, verifiable proprietary data has never been more important given the current speed of trends. Luminate is a proven leader in harnessing data and insights to demonstrate tangible customer behavior across music, film, and television. We are incredibly excited to be a ‘Day-One’ Luminate brand partner, which equips us with invaluable tools to strengthen our cultural compass and benchmark our investments connecting to fandoms.”

You can learn more about the Luminate Index here.

Multiplatinum-selling and three-time Grammy-winning singer/songwriter Olivia Rodrigo will appear at this year’s Billboard Live Music Summit and Awards, in partnership with AEG Presents and Live Nation, for a Superstar Q&A and to receive Billboard’s Touring Artist of the Year award on Thursday, Nov. 14, in Los Angeles. In a keynote interview, Rodrigo will speak about […]

Chhris Moncada has been promoted to COO at MNRK Music Group, effective immediately. Based in Toronto, Moncada will oversee all day-to-day operations at MNRK, develop and implement business strategies, and drive strategic growth initiatives with a focus on A&R, artist development and catalog growth. He will work across MNRK offices in New York, Nashville, Toronto […]

After building a prolific career as a songwriter — having penned more than 4,000 songs and received multiple awards, including both SESAC and ASCAP Latina Songwriter of the Year prizes — Claudia Brant has launched a new venture called Cha Cha Cha Publishing. 
Teaming up with Warner Chappell Music, Brant’s agency aims to develop emerging songwriters and producers while also providing them with music publishing services, ranging from creative opportunities to administration support, to help accelerate their careers.

The idea was born after Brant taught a Latin songwriting course at Berklee College of Music in spring 2023 that focused on song formation and structure, lyrical concepts, melodic development and effective lyric translations. 

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“The exercises I gave my students were very difficult. If they want to be a songwriter, they have to be a chameleon because that’s who I am,” Brant tells Billboard. “I can write salsa, a bolero, a pop song, an alternative song, and I wanted to develop my students in that direction with challenging exercises. At this stage of my career, where I’ve practically worked with almost every artist there is and won all of these awards and recognitions, it’s time to give back and help the new generation.” 

During the course, the Argentine-born hitmaker ultimately hand-picked three aspiring talents and signed them to Cha Cha Cha Publishing: Agua García, a Música Mexicana composer; Laura Prías, who focuses on Latin pop, urban, indie, regional Mexican and boleros; and Fco. Chandia, a young Chilean engineer and producer. The former two already wrote a song for Chiquis that will soon be released.

“I’m making them work really hard, and at the same time, they’re learning a lot,” says Brant. “The good thing — which I didn’t have at the beginning of my career — are all the strong connections I made throughout the years. I got them into the rooms with Mario Caceres, Joel Enrique, Luis Salazar, Rolo from Icon Music, and I want them to write in every genre, create new material, and fight for it.” 

With a trajectory that spans over 25 years, Brant has written songs for Luis Fonsi, Ricky Martin, Camila Cabello, Alejandro Sanz, John Legend, Becky G, Calibre 50, Marc Anthony and many more. In 2008, “No Me Doy Por Vencido,” which she wrote with Luis Fonsi, topped the Billboard Hot Latin Songs chart for 19 weeks. She’s a nine-time Latin Grammy winner, including song of the year in 2009 for Fonsi’s “Aqui Estoy Yo.” In 2016, she was inducted into the Latin Songwriters Hall of Fame. 

“Claudia is a legendary songwriter and artist with a talent unlike any other,” said Gustavo Menéndez, president of Latin America and U.S. Latin at Warner Chappell Music, in a statement. “I’ve known her for years, and what I admire and respect most about her is how relentless she is. She has consistently stayed ahead and fought for what she believes in, all while being recognized at the highest of levels. I’m very excited to be working with her in this next phase of her career as she turns her talents towards helping develop other writers and artists.”

Brant explains that although she’s writing way less now than she did earlier in her career, she wants to ensure her mentees develop the kind of writing skills she’s honed over the years.

“I’m nurturing them with what I know and what I’ve learned throughout the years with this beautiful craft,” she says. “I tell them that they’re gonna have to write a song a day for the next 10-15 years, and to try to write in as many different genres as possible. That craft only comes from exercising and interacting with the artists. Creating music every day makes you grow. If you have the talent, the drive, and are willing to work, you’ll make it.”

Billboard Latin Music Week is returning to Miami Beach on Oct. 14-18, with confirmed superstars including Feid, Gloria Estefan, Pepe Aguilar, Alejandro Sanz, Thalía, Maria Becerra, and Peso Pluma, among many others. For tickets and more details, visit Billboardlatinmusicweek.com.

You know the story: A superstar musician, dogged by rumors of abuse, is finally served with a sweeping federal criminal case – one that accuses him of running a criminal enterprise centered on his own sexual desires.

But are we talking about Sean “Diddy” Combs or about R. Kelly?

In many ways, the charges unveiled last month against Combs mirror those brought in 2019 against Kelly, a chart-topping R&B singer who was sentenced to 30 years in prison in 2022 after a jury convicted him of decades of abuse. There are key differences – most notably, Combs is not accused of victimizing minors – but the themes and charges echo those in the earlier case.

So to understand more, we turned to the best experts possible: Nadia Shihata and Maria Cruz Melendez, two of the lead prosecutors who tried the case against Kelly. Now in private practice, Shihata and Cruz Melendez discussed the Combs case with Billboard in separate interviews – about how a case like this is built, who else might face charges, and what the fight ahead will look like.

“Every case is different, but there are certainly parallels,” Shihata says.

What are the charges against Diddy?

Like with Kelly, prosecutors have built their case against Combs under the Racketeer Influenced and Corrupt Organizations Act – the federal “RICO” statute you’ve probably heard mentioned in mob movies or “Breaking Bad.” He’s facing other charges, too, like alleged violations of two different federal sex trafficking laws, but the core narrative is that Combs built a sprawling criminal enterprise – only one aimed not at illegal gambling or drug trafficking, but at facilitating his own sexual abuse.

“While most people associate racketeering with the mafia, the statute’s reach is not limited to what many may think of as traditional crime syndicates,” says Cruz Melendez, now in private practice at the top law firm Skadden.

Enacted in the 1970s, RICO allows prosecutors to target an entire illicit organization, sweeping up many seemingly unrelated crimes committed by multiple people over an extended period of time and charging them as a single criminal conspiracy. It was designed to help prosecutors target organized crime, where bosses often insulate themselves from the actual, individual crimes.

Unsurprisingly, the law has been used repeatedly over the years to target mobsters, including Gambino family members like John Gotti. It’s also been brought to bear against corrupt judges like those behind the “kids for cash” scandal, as well as white supremacist groups, drug cartels, terrorist groups and financial fraudsters.

But in the years since the start of the #MeToo movement, federal prosecutors in New York have begun turning RICO toward another target: powerful men who allegedly create such criminal enterprises around mass-scale sexual abuse.

In 2019, a federal jury in Brooklyn convicted Keith Raniere, the leader of a cult in upstate New York called Nxivm, of violating RICO by turning vulnerable women into sexual “slaves.” Weeks later, the same office filed their indictment against Kelly, alleging the star and his co-conspirators had worked together to “recruit women and girls to engage in illegal sexual activity with Kelly.”

That type of RICO case is novel but not altogether surprising, according to Shihata, who says its simply took an increased recognition of “how powerful men at the height of their success often commit and conceal these crimes.”

“They don’t do it alone,” says Shihata, who now runs her own firm Shihata & Geddes LLP. “It’s often with the help of an entourage of employees, sycophants, and yes-men willing to do their bidding and look the other way.”

In cases like those against Kelly and Combs, RICO provides powerful advantages for the government versus more traditional means of prosecuting sexual abuse. It allows prosecutors to cite years-old conduct that would otherwise be barred under statutes of limitations, and lets them tell a more comprehensive story to jurors — one that’s less susceptible to a ‘he said, she said’ defense narrative about individual incidents.

“It’s like the difference between watching a full TV series versus just one scene of one episode,” Shihata says.

How will prosecutors make their case?

To prove a RICO case, prosecutors needs to show that such a criminal enterprise existed and Combs participated in it by engaging in at least two of the so-called predicate acts they list in their indictment – the many individual crimes that make up the overarching pattern of illegal conduct.

Of course, those alleged predicates include the core claims of abusive sexual behavior, like the elaborate “freak off” sex parties that are repeatedly detailed in the indictment. But they also include everything else that enabled that conduct and prevented it from being uncovered, including allegations of arson, kidnapping and bribery, as well as obstruction of justice by pressuring witnesses to remain silent.

To support those claims, prosecutors say they’ve already interviewed more than 50 witnesses who have provided “detailed, credible, and corroborated information” against Combs, including “many of whom saw or experienced the defendant’s abuse.”  And the feds say they expect the witness list to “continue to grow” now that the case is public.

The government will back up that testimony with digital evidence, which it says it has already pulled from over 120 cellphones, laptops and other electronic devices, as well as with physical evidence — like the infamous thousand bottles of baby oil that made headlines last month. And then there’s the 2016 video of Combs assaulting his then-girlfriend Cassie Ventura, which prosecutors specifically cite in court filings.

That same approach is what worked during the Kelly trial, when jurors heard testimony from 45 witnesses over 20 days, including eight of his former employees and 11 of his alleged victims, backed up by plenty of evidence, including letters that prosecutors alleged Kelly had forced his victims to write.

Having been at the center of that prosecution, Shihata says she expects Diddy’s prosecutors to focus on telling “the story of everything that happened leading up to the sexual activity,” including threats, isolation, financial dependence, blackmail and other actions that allegedly forced women to have sex when they didn’t want to.

“These are the tools of coercive control,” Shihata says. “In the R. Kelly case, we called it the ‘Predator’s Playbook’.”

How will Combs defend himself?

As in any American criminal case, the burden will be on the government to prove beyond a reasonable doubt that Combs actually committed the many things he’s been accused of. His lawyers don’t need to present their own sweeping narrative or prove his innocence; they just need to poke enough holes in the case against him that jurors aren’t certain he’s guilty.

One key way they might try to do that is to argue that his sexual behavior, while certainly weird and unseemly, was ultimately still consensual. At a bail hearing last month, Diddy’s attorney Marc Agnifilo hinted at that argument, telling the judge that the star and then-girlfriend Cassie had brought sex workers into their relationship because “that was the way these two adults chose to be intimate.”

“One of the central issues of the case will be whether the alleged victims engaged in some of the conduct at issue consensually with Combs and others,” says Cruz Melendez. “Counsel’s statements suggest that they intend to present their own witnesses who will counter victim narratives that they were forced or coerced.”

The issue of consent is actually a key point of distinction between the new case against Combs and the earlier case against Kelly. Since Kelly’s charges largely dealt with sex with minors – which is illegal under any circumstances – such a defense would not have succeeded.

With consent at play in the Combs case, Shihata says his defense attorneys will likely try to narrow the case down to specific incidents that undercut the prosecution’s broader narrative. “In all likelihood, the defense will try to focus the jury on snapshots in time,” she says, “arguing that on a particular day, a particular victim consented to sexual activity.”

Combs’ attorneys will also likely argue that the alleged misconduct simply doesn’t meet the definition of racketeering – and that prosecutors are abusing RICO to make their case. In appealing Kelly’s conviction, for instance, his attorneys have argued that the government is stretching the federal statute “to the point of absurdity” by using it in such cases, potentially turning things like college fraternities into illegal RICO conspiracies.

One crucial question ahead of any criminal trial is whether the defendant himself will testify in their own defense. It’s often a terrible idea – taking the stand can subject a defendant to withering cross-examination from prosecutors, and it can backfire badly if jurors don’t like what they see and hear. That’s probably why R. Kelly didn’t testify in either of his two federal criminal trials.

But according to Agnifilo, Combs himself currently plans to take the stand. In an interview with TMZ, the attorney said “I don’t know that I could keep him off the stand” and that he is “very eager to tell his story.”

“He has a story that I think only he can tell in the way he can tell it in real time,” the attorney said in the interview, seemingly referring to his relationship with Cassie. “And it’s a human story. It’s a story of love, it’s a story of hurt, it’s a story of heartbreak.”

Will others be charged?

By its very nature, a RICO case usually centers on allegations involving multiple people. And in their case against Combs, prosecutors repeatedly mention unnamed co-conspirators who allegedly helped the music mogul commit his crimes.

“The defendant arranged freak offs with the assistance of members and associates of the enterprise, including employees of his business,” prosecutors write in one such passage. “When the defendant faced the possibility that his violent and criminal conduct could become public, the defendant and other  members and associates of the enterprise pressured witnesses and victims.”

But despite those repeated references, only Combs is actually charged with committing crimes. That’s another similarity with the Kelly case, where prosecutors detailed years of alleged help by members of his entourage, but only charged the man himself with RICO violations. (Two Kelly associates were charged in a separate case filed in Chicago over different criminal charges.)

For a case that paints a picture of vast group of wrongdoers, the lack of co-defendants might seem strange, but Cruz Melendez says it’s not that unusual: “Prosecuting a single individual for racketeering is certainly not unheard of, particularly where the defendant is the alleged leader or a top-ranking member of the charged enterprise,” she says.

And, crucially, the lack of co-defendants in the initial indictment doesn’t mean nobody else will be charged at some point in the future. At a press conference announcing the charges against Combs, U.S. Attorney Damian Williams warned that the investigation was “very active and ongoing” and that “can’t take anything off the table” as the case moves forward.

“It’s very possible that other members of the enterprise have already been charged under seal and pled guilty pursuant to cooperation agreements, and are helping prosecutors build their case,” Shihata says. “It’s also possible that additional people will be charged in the future as the investigation is ongoing and the government continues to gather information and evidence.”

When will the trial take place? And what happens next?

Anyone accused of a crime in the U.S. has a constitutional right to a speedy trial, which in federal cases means a jury trial must start within 70 days. Though defendants often waive that right to give their attorneys more time to prepare a defense, Agnifilo has declined to do that so far – saying instead that he’s “going to do everything I can to move his case as quickly as possible.”

But that 70-day time limit has lots of exceptions that can still push a trial back, including pre-trial motions, appeals, or simply if the judge decides the case is too complex. The trial could also be delayed if prosecutors file charges against new defendants, or add additional charges against Combs.

Already, Judge Andrew L. Carter has “excluded” several weeks from the speedy trial clock – and both Cruz Melendez and Shihata say there’s little chance Combs’ trial happens in the next few months.

“I don’t expect a case like this to actually go to trial in 70 days or anywhere near that,” Shihata says. “Run-of-the-mill federal cases can take about a year to get to trial, assuming no superseding indictments are filed. But this case may well take longer, particularly given that there appears to be voluminous electronic discovery in the case.”

Until then, both sides will prepare for trial. The government will continue its investigation, potentially using what they find to add new witnesses, evidence, charges or defendants to the case. Shihata also expects the prosecutors to file a motion, like in the Kelly case, to allow jurors to remain anonymous and to let witnesses and victims to use pseudonyms when they testify.

Combs’ team, meanwhile, will continue seeking to have him released on bail while awaiting trial, a request that was twice rejected by lower judges. They’ve filed an appeal to a federal appeals court, where the question remains pending; the outcome of that appeal could play a key role in how fast his lawyers seek to take the case to trial.

In the meantime, Diddy’s attorneys will sift through the evidence prosecutors plan to use at trial, likely filing pre-trial motions asking the judge to dismiss aspects of the case and to exclude certain evidence and witnesses. They’ll also continue conducting their own investigation, seeking to find witnesses and evidence to use to rebut the government’s case.

Whether they can successfully do so – or whether Combs instead faces a similar fate as Kelly — will ultimately be decided by 12 jurors in a Manhattan federal courtroom.

“At the end of the day, the indictment is just the government’s allegations,” Cruz Melendez says. “The government will need to prove its case beyond a reasonable doubt at trial.”

As the Warner Music Group continues to reshuffle its executive ranks, the company has made two new announcements today (Oct. 7).
First, Eric Wong, who has been chief marketing officer at the major label since 2020, will shift into the newly-created role of global head of A&R, recorded music, and assume the presidency of East West Records, which was originally launched in 1955 as part of Atlantic Records.

As part of that transition, WMG’s executive vp of global marketing Jessica Keeley-Carter has been promoted to step into the role of chief marketing officer, recorded music. Keeley-Carter has been at WMG since 2019, when she joined as senior vp of global marketing, before being promoted to executive vp in 2022. Both Wong and Keeley-Carter will report to WMG CEO Robert Kyncl.

“Eric’s newly-created role leans into his long-standing relationships within the artistic community and his deep understanding of how music travels around the world,” Kyncl said in a statement announcing the news. “Jess is an expert marketer and an inventive leader, who will help us orchestrate best-in-class ways of cutting through the noise in an increasingly complex and cluttered world.”

These moves are part of the broader restructuring of WMG that Kyncl announced in August, which was in pursuit of what Kyncl said at the time was a “flatter structure” for the company. As part of those moves, WMG CEO of recorded music Max Lousada exited the company, and Elliot Grainge was named as the new CEO of Atlantic Music Group, while Kyncl himself took on direct oversight of the heads of global catalog, marketing, distribution company ADA and fan and merch division WMX. As part of the fallout of the moves, longtime Atlantic leader Julie Greenwald, 300 Elektra Entertainment chairman/CEO Kevin Liles and a host of senior Atlantic and Elektra executives also departed the company, among other moves.

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“I’m excited to build even closer relationships with our artists and put greater firepower behind our worldwide network to connect the dots, unlock new value and magnify opportunities for emerging talent,” Wong said in a statement. “I’d like to congratulate Jess on her promotion, and thank Robert for his trust in me to take on this new position.”

Wong, who years ago had served as a senior vp of marketing at Atlantic, returned to Warner in the global CMO role in 2020, after a decade at Universal Music Group that saw him rise to the role of COO of Island Records. With East West as well as his global A&R role, Wong will be tasked with “identifying local talents with global potential and accelerating their pathway to global success,” according to a press release. Keeley-Carter, prior to joining Warner, had worked at Meta overseeing commercial labor partnerships for Europe, the Middle East and Africa, and prior to that had also worked at UMG, where she spent eight years.

“With the collective WMG team collaborating even more closely in our new structure, we’ll be set up to take our artists and labels to new heights,” Keeley-Carter said in a statement. “I’m grateful to Robert for this opportunity, I’d like to thank Eric for his guidance and partnership over the years, and I’m looking forward to continuing our work together.”