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A new lawsuit claims Drake’s ”What Did I Miss?” music video ripped off the work of an Italian photographer — and, in a strange twist, that the rapper was intentionally trying to connect his feud with Kendrick Lamar to a controversial Balenciaga campaign.
The copyright infringement complaint, filed against Drake (Aubrey Graham) on Wednesday (Nov. 12) in federal court, alleges a key sequence in the “What Did I Miss?” video lifts from a photograph in Gabriele Galimberti’s 2020 book The Ameriguns. Both Galimberti’s photo and the scene in question show men standing outside houses, surrounded by firearms laid out in parallel around swimming pools.
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Galimberti is a photographer with National Geographic, though he is perhaps best known for shooting a notorious 2022 Balenciaga campaign that portrayed children with sexually explicit objects. The campaign drew a huge backlash, with consumers accusing the fashion house and Galimberti of glorifying pedophilia.
Wednesday’s lawsuit draws a direct line between the Balenciaga controversy and “What Did I Miss?,” in which Drake addressed the aftermath of his rap battle with Lamar. That feud ended with Lamar calling Drake a “certified pedophile” on the chart-topping diss track “Not Like Us,” leading Drake to sue Universal Music Group (UMG) for defamation.
“Plaintiff was ultimately publicly vindicated in a defamation lawsuit abroad related to the false accusations arising from the Balenciaga advertisement,” writes Galimberti’s attorney. “Given Kendrick Lamar’s lyrics…calling defendant Graham a pedophile and defendant Graham’s now dismissed defamation lawsuit, on information and belief, defendant Graham sought to imply that he, like plaintiff, would be publicly exonerated.”
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Drake’s defamation lawsuit was dismissed last month, with a federal judge ruling that lyrics in rap battles are hyperbole and not meant to imply facts. Drake is now appealing to revive the case against UMG, which owns both Lamar’s label Interscope Records and his label, Republic Records.
Republic and UMG are both defendants in Galimberti’s lawsuit as well, along with Drake and his company OVO Sounds. Galimberti is seeking financial damages for what he describes as “both an egregious violation of federal law and an affront to plaintiff, his livelihood, his legacy and to photographers everywhere.”
“Plaintiff is a serious professional, addressing serious themes,” reads the complaint. “His work hangs in galleries, museums, graces serious print literature, and his career depends upon the respect and admiration of dealers, collectors and critics of contemporary and documentary art. By the forced and unauthorized association of his work with the infringing video, the integrity of his work and his reputation as a photographer has been damaged.”
Reps for Drake and UMG did not immediately return requests for comment on the lawsuit.
“What Did I Miss?” debuted at No. 2 on the Billboard Hot 100 in July, and hit No. 1 on both Hot R&B/Hip-Hop Songs and Rhythmic Airplay, extending multiple Billboard chart records for the rapper.
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The life and career of 13-time Grammy winner Kenneth “Babyface” Edmonds will take center stage in a documentary that’s now in production and backed by HarbourView Equity Partners. Helming the documentary are Emmy-nominated director Chris Moukarbel (Gaga: Five Foot Two, Cypher) and Kenya Barris (black-ish, grown-ish).
According to a press release announcing the project, the documentary will feature Babyface during in-depth interviews talking about the triumphs and challenges he’s encountered in the music industry, his songwriting and production process and his star-filled list of collaborators over the years such as Whitney Houston, Toni Braxton, Beyoncé, Eric Clapton, Mary J. Blige, Mariah Carey, Boyz II Men and SZA. As such, the documentary will also feature interviews with many of Babyface’s key collaborators as well as behind-the-scenes and concert footage of his upcoming shows at The Palms in Las Vegas.
The documentary will also encompass his trajectory as a co-founder of Atlanta-based LaFace Records with Antonio “L.A.” Reid in the ‘90s and early 2000s. In addition to Braxton, the storied label’s roster included OutKast, Usher, TLC, P!nk and Ciara.
“I’ve often wondered how an unassuming kid from Indianapolis got to where he is today, working with artists and achieving dreams I could’ve never imagined when I first started,” commented Babyface in the press release. “This documentary is giving me a chance to go down memory lane with a fine-tooth comb, reexamining the highs and lows of my life and career. I’m discovering where all the songs really came from — and perhaps just as important, the how and why.”
That “unassuming kid” went on to write and produce seminal film soundtracks and songs as well. Those credits include The Bodyguard, Boomerang, Soul Food and Waiting to Exhale — the latter of which is celebrating its 30th anniversary this year. He also produced “When You Believe,” the Academy Award-winning duet between Houston and Carey from the animated film The Prince of Egypt. Beyond his 13 Grammy Awards. the prolific music man is a seven-time BMI pop songwriter of the year honoree. He also counts 16 No. 1 pop singles, 45 No. 1 R&B singles and 125 top 10 hits per the Billboard charts.
“Babyface and his music has always been part of the soundtrack of my life,” said director Moukarbel. “His imprint on the music world is massive and I feel really honored to be even a small part in sharing his story through directing this film.
Sherrese Clarke, founder/CEO of HarbourView Equity Partners, said, “We’re passionate about investing in stories and creators who’ve shaped culture in lasting ways. Babyface’s influence on music and artistry is immeasurable — his songs have defined generations. We’re proud to support this project celebrating his genius, legacy and the emotional honesty behind his work.”
Describing Babyface as “one of one — a culture-defining hitmaker whose impact cannot be denied or overstated,” Barris added, “We’re honored to be a part of telling his story and grateful that we’re teaming with Harbourview, a company that understands the importance of investing in culture and storytelling like this, to do so. I hope this project not only spotlights Babyface’s remarkable career but also gives people a glimpse into the man behind the musical genius, who just might be one of the funniest motherfuckers I’ve ever met.”
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When Hurricane Melissa made history as the strongest storm ever to make landfall in Jamaica, the island nation’s biggest stars immediately sprang into action to help provide relief to their home’s most devastated areas. Now, led by Sean Paul, Shaggy and Kes, several of the Caribbean’s brightest stars have teamed up for a massive benefit concert to further support relief efforts.
Announced Wednesday (Nov. 12), the Jamaica Strong benefit concert will take place Dec. 12 at UBS Arena in Belmont Park, New York. At press time, additional confirmed performers include Chronic Law, T.O.K, Tessane Chin, Aidonia, Inner Circle, Ky-Mani Marley, Teejay, Richie Stephens, Gramps Morgan, and Mikey Spice, with more artists yet to be announced. Pre-sale begins on Thursday (Nov. 13) at 10 a.m. E.T., while general on-sale kicks off on Friday (Nov. 14).
“This is more than a concert — it’s a movement,” Jammins Events organizer George Crooks said in a statement.
With a death toll of over 75 across the Caribbean, Hurricane Melissa significantly impacted the region, particularly Jamaica, Cuba and parts of Haiti. Jamaican superstars like Shenseea, Beenie Man, Sean Paul and Spice have all documented their respective relief efforts via their social media channels.
Earlier this month, Shaggy spoke with Billboard about the destruction he witnessed in the days immediately following Melissa’s landfall. “We got [to Jamaica] early enough to reach the people, because it took me around six hours to get from Kingston to St. Elizabeth in Black River, which is normally a two-and-a-half-hour drive at most,” the reggae icon said. “We had to chop [tree] limbs down, move things out the way, and drive through high puddles of [runoff], so we got there in the middle of the night. At that point, all we could do was pass water out, so we had to regroup and drive six hours back to Kingston. The next day, we went to the Junction side of St. Elizabeth, which took us four hours. The square itself was shut down. It was ground zero because it wasn’t livable anymore. Nobody could stay there.”
UBS Arena is a worthy venue for the benefit concert, given its connection to New York’s Caribbean diaspora. This spring, Billboard reported that, in under a year, New York’s UBS Arena hosted five $1 million-grossing Caribbean-headlined shows across four different genres. From Buju Banton and Carimi to Machel Montano and Beres Hammond, the rhythms of reggae, dancehall, konpa, and soca ricocheted across the arena in 2025.
As Jamaica continues to rebuild, its people can find a moment of solace in the 2026 Grammy nominations. At the upcoming ceremony, all five nominees for best reggae album — Vybz Kartel, Lila Iké, Mortimer, Jesse Royal and Keznamdi — hail from Jamrock.
Check out the official Jamaica Strong benefit concert announcement below.
Trending on Billboard Ye’s (formerly Kanye West) concert slated for Nov. 29 in São Paulo is in jeopardy. According to Metropoles, the São Paulo State Public Prosecutor’s Office (MPSP) has reportedly ordered that West be arrested if he makes any pro-Nazi remarks during the show or performs his controversial song “Heil Hitler.” “No one who […]
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An appeals court has upheld Tory Lanez’s convictions for shooting Megan Thee Stallion, rejecting his arguments aimed at overturning his 10-year prison sentence.
Nearly three years after the singer (Daystar Peterson) was found guilty in 2022 of shooting Megan in the foot during a drunken argument on a Hollywood Hills street, a California appellate court affirmed the verdict in a ruling issued Wednesday (Nov. 12).
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Lanez and his supporters have long maintained his innocence, claiming there was insufficient proof that he was the shooter and that he received an unfair trial. But in the ruling, the appeals court said there was no reason to undo the verdict.
“Peterson contends the trial court committed a number of errors,” the appeals court wrote. “We find no prejudicial error and, accordingly, affirm Peterson’s conviction.” A spokeswoman for Lanez did not immediately return a request for comment on the ruling.
The ruling came more than five years after the July 12, 2020, shooting, which happened as a driver was shuttling Lanez, Megan and her assistant/friend Kelsey Harris from a party at Kylie Jenner’s house. According to prosecutors, when Megan got out of a vehicle and began walking away, Lanez shouted “Dance, b—h!” and fired a gun at her feet, striking her once.
Following the incident, Megan initially told police officers that she had cut her foot stepping on broken glass, but days later alleged that she had been shot. Lanez was eventually charged with the shooting in October 2022.
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During a blockbuster trial in Los Angeles court, Lanez’s lawyers tried to sow doubt over who had really pulled the trigger, painting a scenario in which Harris could have been the shooter. But a key defense witness offered confusing eyewitness testimony, and prosecutors pointed to an earlier interview in which Harris pinned the blame squarely on Lanez. Megan herself offered powerful testimony that Lanez had been the one to shoot her, and neither Lanez nor the driver took the witness stand.
Lanez and his supporters have refused to accept that verdict, calling it a “miscarriage of justice.” His legal team has filed multiple forms of appeal to challenge the verdict, each of which has now been rejected. They have also claimed publicly that new evidence exonerates him; Megan’s reps and prosecutors strongly deny that.
On appeal, Lanez raised a slew of arguments. He argued it had been unfair for jurors to hear the earlier interview with Harris, in which she placed the blame for the shooting on Lanez; he also argued prosecutors had improperly cited an Instagram post in which he appeared to say that Harris had not shot Megan.
In Wednesday’s decision, the appeals court rejected each of those arguments, including Lanez’s claim that prosecutors had “introduced racial bias into the proceedings” by referencing a tattoo of a gun on his chest.
“It was defense counsel who asked — both on direct and on redirect — if [a witness] had ever seen Peterson with a gun,” the appeals court wrote. “Neither of the prosecutors even mentioned Peterson’s tattoos — much less the tattoo of a firearm — in their closing arguments.”
Trending on Billboard 50 Cent can’t deny that he’s still into Vivica A. Fox — even if his former flame said she would advise her younger self not to date the Grammy-winning rapper. Late Monday night (Nov. 10), the “Many Men” rapper took to Instagram to respond to Fox’s viral comments. “Either way I’m a […]
Trending on Billboard Clipse took it back to the trenches for the “F.I.C.O.” visual featuring a lift from Stove God Cooks. Directed by Hannan Hussain, who previously helmed the Virginia-bred duo’s “So Be It” visual, the clip arrived on Wednesday (Nov. 12). Explore See latest videos, charts and news Pusha T sets the tone, rapping […]
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There’s a new front in the nasty legal war between hip-hop producer Madlib and his longtime manager Eothen “Egon” Alapatt: The many songs recorded during their decade-long partnership.
In a lawsuit filed Tuesday (Nov. 11) against Madlib (Otis Lee Jackson Jr.), Egon asked a federal judge to decide who owns the rights to the masters created over the years at their Madicine Show label — tracks that feature Madlib’s beats under vocals by Mac Miller, Freddie Gibbs, Four Tet and others.
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“Jackson now claims those works as his personal property and seeks to withdraw them entirely from Madicine Show’s catalog,” writes Egon’s attorney Kenneth Freundlich. “That is not how the law works.”
In a statement to Billboard, Madlib responded to Egon’s new claims: “I trusted someone who didn’t value the art the way I do. This is a reminder that not everyone who stands beside you is standing for you. When you move with truth, you don’t have to defend yourself. Time and integrity do the talking.”
Madlib, a critically-acclaimed producer known for his work with Kanye West (now Ye) and the late MF Doom, went to court first in 2024 — accusing Egon of “rank self-dealing” and “pervasive mismanagement.” The case, filed in California state court, claimed the manager had abused his power over Madicine Show to profit at Madlib’s expense.
Egon hit back in May, filing a countersuit blasting Madlib for “having the audacity to bring this mean-spirited personal action.” In one notable claim, Egon said Madlib’s new label was interfering with music projects that legally belong to Madicine Show, including the release of a years-old recording of the late Miller that has long been rumored to be in the works.
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In the new case on Tuesday, Egon said he needed “immediate federal intervention” in that legal battle because of a key new development in the earlier lawsuit.
Last month, a Los Angeles judge sided with Madlib and ruled that a court-appointed receiver should oversee the corporate dissolution of Madicine Show. The ruling came over objections from Egon, who said he himself should oversee the company’s wind-down. “Defendant is not the appropriate person to oversee the dissolution process,” the judge said at the time. “The court will appoint a receiver.”
But now, weeks later, Egon says in his new lawsuit that the breakup process cannot move ahead until it’s clear who owns the company’s “most valuable assets”: its catalog of recorded music. And since copyright law is handled exclusively by federal courts, he says that decision must be made by a U.S. district judge.
“The recordings at issue were created and exploited pursuant to a licensing relationship between Jackson and Madicine Show,” Egon writes. “They remain company assets, and their ownership must be determined under the Copyright Act.”
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According to the lawsuit, the tracks recorded by Miller and others over Madlib’s beats were “facilitated, supervised, and produced” by Egon under a longstanding arrangement in which the company controlled them. The producer’s recent claim that “he alone owns all copyrights” is “mystifying” and legally incorrect, the suit says.
“This position ignores the parties’ mutual understanding and Alapatt’s creative, financial, and managerial contributions,” Egon’s lawyers write. “After benefiting from that arrangement, Jackson cannot revoke or withdraw those rights or claim exclusive ownership of works that were created, produced, and marketed under Madicine Show’s direction.”
Attorneys for both sides did not immediately return requests for comment on the new case.
Trending on Billboard Cardi B said it was “time to make the club fun again” and she delivered on her promise while teaming up with Jeezy for another “ErrTime” remix on Wednesday (Nov. 12). Explore See latest videos, charts and news The thumping remix arrived packaged as part of Cardi’s Am I the Drama? (The […]
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Rapper Adamn Killa (born Adam Kelly) was briefly detained after attempting his viral “ohh, arrest me, daddy” prank on Chicago police officers earlier this week.
Killa hopped in front of cops and hit his signature line in Downtown Chicago on Monday afternoon (Nov. 10) and according to the Chicago Sun-Times, he was handcuffed and detained in the back of a police car for about 20 minutes for allegedly interrupting a traffic stop.
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“I got out and I went and made more ‘Arrest me, daddy’ videos right after,” the Chicago native told the Sun-Times.
Killa, who’s managed by Chance The Rapper’s brother, Taylor Bennett, didn’t waste any time capitalizing on the moment by posting footage of his encounter with law enforcement on Instagram for his 781,000 followers to see. Soundtracked by his own track “Fall On,” the clip features him being handcuffed by police and placed in the back of a paddy wagon. Fortunately for Killa, he was released a short time later.
It’s far from the first time Killa has attempted to troll police officers across Chicago with his viral “arrest me, daddy” prank and signature taunting dance.
The 29-year-old has also used his prank as a form of protesting the Trump administration’s mass deportation campaign while trolling officers and ICE agents around Chicago.
“How they be covering their face and s—t, I feel like in the future, they gonna look at them like how they looked at, like the Nazi soldiers,” he said to the Sun-Times. “Because they know what they be doing wrong. That’s why they cover their face and they be covering their badges and stuff.”
Killa continued: “I feel like rap was always speaking your mind against s–t you didn’t like,” he said. “I feel like that’s how hip-hop kind of started, but I know I’m like the new type of rap, but it’s still the same thing. I feel like you should speak about things, your opinions. You should voice your opinions. It’s a way to get your opinion out.”
On the music side, Killa released his “Arrest Me Daddy” track on Nov. 7, just a few days before his run-in with police on Monday.
Watch footage of Adamn Killa’s detainment below.
