Legal
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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.”
The U.S. Supreme Court has refused to hear an appeal from R. Kelly over his 2022 convictions 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.
Kelly’s attorneys had urged the high court to take up the case, in which a federal jury in Chicago convicted him in September 2022, by arguing that the case should have been barred by the statute of limitations.
But in an order Monday, the justices declined to tackle the case. As is typical, the court did not explain its decision to reject Kelly’s case along with dozens of others. The Supreme Court receives thousands of petitions per year and only decides to hear a tiny fraction them.
Monday’s order dealt only 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.
In the current case, a different team of federal prosecutors from Chicago accused Kelly of violating child pornography laws, enticing minors for sex and obstructing justice by upending a 2008 criminal trial.
Though he was acquitted on certain counts, Kelly was convicted in September 2022 and later sentenced to 20 years in prison; the vast majority of that sentence will be served concurrently with the New York sentence. The conviction was affirmed by a lower appeals court earlier this year.
In asking the justices to consider overturning that ruling, Kelly’s attorney Jennifer Bonjean cited the statute of limitations. She said that an updated federal law extending the time limit, passed in 2003, could not be applied retroactively to Kelly’s alleged crimes, which occurred in the late 1990s and early 2000s.
“Retroactive application of the 2003 amendment not only fly in the face of congressional intent,” Bonjean writes. “It violates notions of fundamental fairness.”
Barring an unusual outcome at some point in the future, Monday’s decision effectively finalized Kelly’s convictions and sentencing in the Chicago case. The separate convictions in the New York case could still be overturned, however, either by the lower appeals court or by the Supreme Court.
Kelly’s attorney did not immediately return a request for comment.
Janice Combs, mother to Sean “Diddy” Combs, has released a statement on behalf of the Combs family amid ongoing sex crime allegations against the music mogul.
Combs was indicted by federal prosecutors in mid-September on racketeering and sex trafficking charges and denied bail.
In a statement released Sunday (Oct. 6) through attorney Natlie G. Figgers, obtained by The Hollywood Reporter, Combs’ mother said Diddy is not guilty of the allegations against him: “My son is not the monster they have painted him to be, and he deserves the chance to tell his side.”
“It is heartbreaking to see my son judged not for the truth, but for a narrative created out of lies,” reads her statement, which comes five days after it was reported Diddy will face lawsuits from 120 additional accusers for alleged incidents dating as far back as 1991. “To bear witness [to] what seems to be like a public lynching of my son before he has had the opportunity to prove his innocence is a pain too unbearable to put into words. Like every human being, my son deserves to have his day in court, to finally share his side, and to prove his innocence.”
Indictment documents unsealed on Sept. 17 said, “For decades, Sean Combs … abused, threatened and coerced women and others around him to fulfill his sexual desires, protect his reputation and conceal his conduct. To do so, Combs relied on the employees, resources and the influence of his multi-faceted business empire that he led and controlled.”
Combs was denied bail. If convicted of the charges, he faces a minimum sentence of 15 years in prison and a maximum of life behind bars.
On Sunday, his mother said, “I am not here to portray my son as perfect because he is not. He has made mistakes in his past, as we all have.”
She referenced the lawsuit Combs settled last year from singer and ex-girlfriend Cassie Ventura, who accused him of rape and abuse. Combs had denied her allegations, but when video surfaced of him physically assaulting her in a hotel, issued an apology.
“My son may not have been entirely truthful about certain things, such as denying he has ever gotten violent with an ex-girlfriend when the hotel’s surveillance showed otherwise,” Janice Combs said in her statement. “Sometimes, the truth and a lie become so closely intertwined that it becomes terrifying to admit one part of the story, especially when that truth is outside the norm or is too complicated to be believed. This is why I believe my son’s civil legal team opted to settle the ex-girlfriend’s lawsuit instead of contesting it until the end, resulting in a ricochet effect as the federal government used this decision against my son by interpreting it as an admission of guilt.”
She said this does not make him guilty of the multiple “repulsive allegations and the grave charges leveled against him.”
“Many individuals who were wrongfully convicted and later exonerated had their freedom taken from them not because they were guilty of the crimes they were accused of, but because they didn’t fit the image of what this society considers to be a ‘good person.’ History has showed us how individuals can be wrongfully convicted due to their past actions or mistakes,” she said.
“It is truly agonizing to watch the world turn against my son so quickly and easily over lies and misconceptions, without ever hearing his side or affording him the opportunity to present his side,” she added.
“These lies thrown at him are motivated by those seeking a financial gain, and not justice,” reads the statement. “These individuals saw how quickly my son’s civil legal team settled his ex-girlfriend’s lawsuit, so they believe they can receive a quick payday by falsely accusing my son. False allegations of sexual assault thwart true victims of sexual violence from getting the justice they deserve. To make matters worse, the federal government is now using these lies to prosecute my son. This injustice has been unbearable for our family. The worst part of this ordeal is watching my beloved son be stripped of his dignity, not for what he did, but for what people choose to believe about him.”
RBD‘s five members — Maite Perroni, Christian Chávez and Christopher von Uckermann — announced on Friday (Oct. 4) that “the matter has concluded.”
Rosas and RBD parted ways in January after the Mexican band’s ultra-successful Soy Rebelde World Tour. In May, RBD revealed in a statement issued by its lawyers that there were “significant irregularities” revealed in a forensic accounting investigation led by Critin Cooperman — a services firm that acted as a business manager for the tour and had also conducted a financial audit.
In a statement shared on Friday (Oct. 4) — known to fans as World RBD Day — Perroni, Chávez and von Uckermann wrote: “As set forth in the final agreement, T6H, through its owner Guillermo Rosas, was claiming that Guillermo’s company was entitled to $10,072,811.00 in connection with Guillermo and his company’s management of RBD’s live performance tour in the U.S., Mexico, Brazil and Colombia. Following our filing of a complaint against Guillermo and his company in both Federal Court and with the California Labor Commissioner, in addition to a thorough audit we commissioned, T6H agreed as part of the final settlement agreement to accept the sum of $4,723,591.00, an amount which is $5,349,220.00 less than what Guillermo was claiming to be owed.”
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Notably, RBD’s other two members, Anahí and Dulce María, did not sign on to the letter. An RBD representative did not immediately respond to a request for comment on their absence.
In December, RBD wrapped its massive world tour, which as of Nov. 30 had grossed $197.1 million since launching in August. Rosas also worked with the band as a concert promoter from 2006 to 2008. Under a new business model designed for RBD’s comeback tour, the group’s first trek in 15 years, the five members and Rosas were deemed equal partners in a new joint venture, splitting all new revenue, including for music.
The statement continues: “This is why we made the decision to take action in this situation. We felt a responsibility to address the challenges that can arise in the industry, with our priority being the protection of artists rights. This is a reminder for young artists to have the courage to stand up for themselves and demand respect. We are very satisfied with the outcome of our action and will continue to advocate for justice and respect in the artistic world.”
Billboard reached out to Guillermo Rosas but had not heard back at press time.
Read Perroni, Chávez and von Uckermann’s statement below in Spanish, Portuguese and English:
After Garth Brooks was accused of rape and other sexual misconduct in a lawsuit filed in Los Angeles on Thursday (Oct. 3), the country star has responded and insists he is “not the man they have painted me to be.” The allegations come from an unnamed woman who claims Brooks sexually assaulted her while she […]
Country music star Garth Brooks is facing a lawsuit over allegations that he sexually assaulted an unnamed woman while she worked for him as a hairstylist and makeup artist.
In a lawsuit filed Thursday (Oct. 3) in Los Angeles court, attorneys for the anonymous Jane Roe accuser claim Brooks raped her during a May 2019 stay in a Los Angeles hotel room and also exposed her to “other appalling sexual conduct” during that same year.
The lawsuit claims that the singer took advantage of the accuser’s mounting financial troubles to subject her to “a side of Brooks that he conceals from the public.”
“This side of Brooks believes he is entitled to sexual gratification when he wants it, and using a female employee to get it is fair game,” Roe’s attorneys write.
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Notably, the accuser also alleges that Brooks was behind a mysterious lawsuit filed last month, obtained by Billboard, in which an anonymous “celebrity” plaintiff sued in Mississippi federal court over an an unnamed accuser’s sexual abuse allegations. Calling the accusations false and an “ongoing attempted extortion,” the earlier case asked a judge to stop her from further publicizing them.
“The abusive Mississippi action by Brooks is a blatant attempt to further control and bully his sexual assault victims by utilizing his multimillionaire resources to game the legal system,” Roe’s lawyers write in Thursday’s complaint. “Brooks is desperate to prevent his millions of fans from learning about the horrific things he has said and done to a junior female employee who did nothing to deserve such treatment.”
A representative for Brooks did not immediately return a request for comment.
In her lawsuit, the plaintiff claims she began working in 1999 for Brooks’ wife, Trisha Yearwood, but started to work for Brooks in 2017. When she experienced financial difficulties in 2019, she says Brooks offered to help her by giving her more work.
The first alleged incident occurred earlier in 2019, when Brooks allegedly emerged from the shower naked and forced the accuser to touch his erect penis and said he had fantasized about her performing oral sex on him. She says she denied his advances but continued to work for him.
Months later, in May, Roe claims that when she and Brooks stayed together in a Los Angeles hotel, he booked only a single room for both of them. She claims that during their stay, he violently raped her in the room.
During the months that followed, the plaintiff claims Brooks repeatedly acted inappropriately toward her in other ways, including sending sexually explicit text messages, physically groping her breasts, and making sexually charged remarks toward her.
“We applaud our client’s courage in moving forward with her complaint against Garth Brooks,” said the accuser’s attorneys, from the prominent plaintiff’s firm Wigdor LLP. “The complaint filed today demonstrates that sexual predators exist not only in corporate America, Hollywood and in the rap and rock and roll industries but also in the world of country music.”
Though Brooks has not yet responded to Thursday’s lawsuit, documents filed in the earlier mystery case in Mississippi tell what appears to be his side of the story.
After a former professional associate “encountered financial difficulties” and asked for financial assistance in 2020, the lawsuit says that the unnamed celebrity plaintiff “complied out of loyalty” and offered help. But when he eventually refused her increasing demands, inclduing for salaried employment and medical benefits, the lawsuit says the woman responded with “false and outrageous allegations of sexual misconduct.”
Later, the unnamed woman allegedly “offered to refrain from publicly filing her false and defamatory lawsuit against plaintiff in exchange for a multi-million dollar payment” — a demand that the lawsuit called “extortion.”
“Defendant’s allegations are not true,” the unnamed celebrity wrote in last month’s lawsuit. “Defendant is well aware, however, of the substantial, irreparable damage such false allegations would do to Plaintiff’s well-earned reputation as a decent and caring person, along with the unavoidable damage to his family and the irreparable damage to his career and livelihood that would result if she made good on herthreat to ‘publicly file’ her fabricated lawsuit.”
A producer who worked on Fleetwood Mac’s Rumours is suing the creators of the hit Broadway play Stereophonic, claiming they stole material from his memoir about working on the legendary album.
In a lawsuit filed Tuesday (Oct. 2) in Manhattan federal court, Ken Caillat and co-author Steven Stiefel call the Tony Award-winning show an “unauthorized adaptation” of their 2012 book Making Rumours — and accuse playwright David Adjmi of “flagrant and willful infringement.”
“Stereophonic copies the heart and soul of Making Rumours,” attorneys for Caillat and Stiefel write in their complaint. “The striking similarity is readily apparent right from the beginning of the show.”
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Featuring the music of Arcade Fire’s Will Butler, Stereophonic debuted on Broadway last fall, eventually winning five Tony Awards including best play, best direction of a play and best featured actor in a play.
Critics quickly noted the similarities to the infamous story of the recording session for Fleetwood Mac’s Rumours, which featured high tensions and heavy drug usage. A reviewer for the Wall Street Journal said the play was “fictionalizing Fleetwood Mac”; another critic said the play “isn’t literally about Fleetwood Mac, but c’mon.”
In their lawsuit, Caillat and Stiefel say the hit play “presents a nearly identical story arc as Making Rumours,” told from the same perspective of a sound engineer in a recording studio, about five characters who are “undeniably analogous to the members of Fleetwood Mac.”
“Stereophonic is undoubtedly a play based on plaintiffs’ memoir Making Rumours because substantial similarities exist between the two works, a reality that has been independently confirmed by those familiar with plaintiffs’ book who have also had the opportunity to review the play,” the duo’s lawyers write.
The new case presents tricky legal questions. Under U.S. law, historical events cannot be monopolized under copyrights, and nobody can claim exclusive ownership over the real story behind the making of Rumours. But specific creative elements of how such a story is told can be protected by copyrights, and film, TV and stage producers often license non-fiction books as the basis for their works.
In their case, Caillat and Stiefel claim that Adjmi copied those exact kinds of creative choices when he created his play: “Stereophonic’s audience not only sits in the same place that Mr. Caillat sat, but the show also depicts Mr. Caillat’s wild ride as it is described in Making Rumours.”
Adjmi is no stranger to copyright litigation. Back in 2014, he filed a preemptive lawsuit over his off-Broadway show called 3C, which riffed on the sitcom Three’s Company. In that case, filed after the sitcom’s owners threatened litigation, Adjmi argued the play was clearly a legal parody of the earlier show. And he eventually won, securing a ruling that his play was a legal “fair use” of the famous show.
In their complaint, Caillat and Stiefel noted that earlier case, but pointedly argued that such a defense would not work this time around: “Stereophonic is not a parody, and it is not in any way a fair use of Making Rumours.”
Reps for Adjmi did not immediately return requests for comment.
A federal judge is refusing to wade into whether Jay-Z can use copyright termination to retake control of the rights to his debut album Reasonable Doubt — meaning that the complex issue won’t be resolved before a court-ordered auction of Damon Dash’s one-third stake in the company that owns the album.
The judge had been asked to decide that tricky question because of allegations that Jay-Z was using “false” threats of a looming termination to drive down the auction price for Dash’s stake in Roc-A-Fella Records Inc., which controls the rights to the famous album.
But in a ruling Monday (Sept. 30), Judge Robert W. Lehrburger flatly refused to do so — saying he had no legal power to add complicated questions of copyright law to the already-messy fight over Dash’s stake.
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“The asset that is the subject of the auction is Dash’s one-third interest in RAF [Roc-A-Fella] itself, not the work owned by RAF,” the judge wrote. “The Court does not presently have jurisdiction over the validity of Carter’s copyright termination notice.”
As early as next month, the U.S. Marshals Service will sell off Dash’s 33.3% interest in Roc-A-Fella Inc., an entity whose only real asset is the sound recording copyright to Reasonable Doubt. The rest of the storied label, which Dash co-founded with Jay-Z in 1994, is not involved.
Though the court-ordered auction was originally intended to pay off an $823,000 judgment in a civil lawsuit, it has since expanded to include other Dash creditors. New York City’s child services agency wants some of the proceeds to go toward more than $193,000 that Dash owes in unpaid child support; New York state says they must pay down roughly $8.7 million that Dash owes in back taxes and penalties.
The owners of the other two-thirds of Roc-A-Fella — label co-founders Jay-Z (Shawn Carter) and Kareem “Biggs” Burke — have already attempted to stop the auction, including making changes to the company’s bylaws and intervening in the lawsuit. But a federal judge rejected such opposition in February, and the sale could take place as early as this month.
As the auction has approached, one major unresolved question for any potential buyer is just how long Roc-A-Fella will continue to own its only real valuable asset.
The so-called termination right, a provision created by Congress in the 1970s, empowers authors to reclaim ownership of copyrighted works decades after they sold them away. If Jay-Z is eligible for it, termination would allow him to take back the rights to his sound recording of Reasonable Doubt roughly 35 years after he released the album, meaning 2031. That would set a clear time limit on the amount of revenue a Roc-A-Fella buyer would derive from their investment.
But last month, attorneys for New York City filed court papers arguing that Jay-Z was not, in fact, eligible for termination — and that he and others were using “false” threats of an approaching termination to drive down the price of Dash’s stake in his company.
“Jay-Z’s statements to the press have poisoned the environment for the auction,” wrote Gerald Singleton, an attorney for the city, asking the judge to halt the auction and issue a ruling on whether or not Jay-Z could use termination to win back control of Reasonable Doubt.
Days later, Jay-Z lawyer Alex Spiro responded that there was “no merit to NYC’s accusations,” and that the Dash case was not the proper place to decide Jay-Z’s rights to the album: “Put simply, this is not the appropriate time, forum, or case to litigate any issues relating to Jay-Z’s notice of termination.”
In Monday’s ruling, Judge Lehrburger agreed with Spiro and Jay-Z: “[NYC]’s motion to stay the auction for purposes of having this court determine the validity of the copyright termination notice filed by Shawn Carter a/k/a Jay-Z in connection with the work Reasonable Doubt, an asset owned by RAF, is denied.”
The judge also rejected New York City’s attempt to conduct discovery into Roc-A-Fella’s holdings, saying that kind of investigation was also beyond the scope of the current litigation. An attorney for the city declined to comment on the order.
The auction is currently scheduled for Oct. 21, but it has been postponed multiple times and could be delayed again. A minimum purchase price has been set at $3 million.
Facing a federal court order to turn over all his copies of a rare Wu-Tang Clan album, Martin Shkreli is warning a judge that he can’t remember all the people with whom he shared the album – and that it’s “highly likely” that other people still have copies.
In August, Judge Pamela K. Chen ordered Shkreli to hand over any copies of Once Upon a Time in Shaolin, an ultra-rare Wu-Tang album that he once owned but was forced to forfeit to federal prosecutors to help pay restitution after he was convicted of securities fraud.
In a sworn statement on Monday, Shkreli promised the judge that he had turned over all copies that he could find in his possession. But he also said he didn’t know exactly who he had shared it with, and that some of them probably still have copies.
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“Because I shared the musical work several times several years ago, I cannot recall each and every time that I have shared the musical work,” he told the judge. “It is possible, and indeed I find it highly likely, that one of the many people who viewed, heard, or otherwise accessed the musical work via my social media recorded the musical work and retains a copy of the same.”
Wu-Tang’s fabled album was recorded in secret and published just once, on a CD secured in an engraved nickel and silver box. In addition to the bizarre trappings, Once Upon came with strict legal stipulations — namely, that the one-of-a-kind album could not be released to the general public until 2103.
In 2015, Shkreli — soon to become infamous as the man who intentionally spiked the price of crucial AIDS medications — bought Once Upon at auction for $2 million. But after he was convicted of securities fraud in 2017, he forfeited it to federal prosecutors to help pay his multi-million dollar restitution sentence. PleasrDAO, a collective of early NFT collectors and digital artists, then bought the album from the government in 2021 for $4 million, and in 2024 acquired the copyrights and other rights for another $750,000.
Amid recent efforts to monetize Once Upon, Pleasr sued Shkreli in June after he made threats to release the album publicly and destroy the exclusivity that the company had purchased. The lawsuit accused him of both breaching the federal forfeiture order and violating federal trade secrets law, which protects valuable proprietary information from misappropriation.
In August, Judge Chen granted Pleasr a preliminary injunction requiring Shkreli to hand over any copies of Once Upon that were still in his possession. His attorneys had argued Shkreli had the right to create private copies when he owned the album and could retain them even after he forfeited the original copy, but the judge rejected that argument.
Responding to the injunction order on Monday, Shkreli told the judge he had “searched my devices, electronic accounts, and other personal effects” and handed over any copies he owned. He swore that he had done so “under penalty of perjury under the laws of the United States of America.”
But Judge Chen’s injunction also included another requirement: That he divulge the “names and contact information of the individuals to whom he distributed the data and files.” On that front, Shkreli offered less info on Monday.
“Between 2015 and 2021, I recall occasionally sharing the musical work, primarily by sending digital files of the musical work to others via email, [and] also saved copies of the musical work on USB or other drives and gave those drives to others,” Shkreli said, before saying that he “cannot recall” each of those occasions.
He also told the judge that he had “shared the musical work on my social media pages or livestreams” on at least three occasions, including once in 2023 and again in 2024. It was during these public postings, Shkreli said, that someone likely created copies of the album.
Both sides did not immediately return requests for comment on Monday’s filing.
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 civil war within the Fugees as Pras sues Lauryn Hill for fraud; the latest on Diddy’s legal drama, including an appeal and two new lawsuits; New York mayor Eric Adams hires Jay-Z’s lawyer to defend him against federal criminal charges; and much more.
THE BIG STORY: Fugee Feud
The Fugees — a hip hop trio made up of Lauryn Hill, Wyclef Jean and Pras Michel — rose to fame in the mid-1990s with hits like “Killing Me Softly,” “Ready or Not” and “Fu-Gee-La,” launching solo careers for all three. But 25 years later, it appears something is rotten in the state of Fugee.
In a scathing lawsuit Tuesday (Oct. 1) that took personal shots at Hill, Pras accused his bandmate of fraud and breach of contract. He claimed that she had exploited his need for cash amid mounting legal problems to get him to sign onto a plan for a 2023 tour in which she enriched herself at his expense.
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“It did not matter to Hill if she took full advantage of Michel’s vulnerability — her friend and creative partner of over 30 years,” his lawyers wrote. “In fact, she counted on exploiting that vulnerability to carry out her scheme.”
Michel also pinned the blame on Hill for the group’s recently canceled 2024 tour, which had been set to kick off in early August but was quietly called off just days before it was set to start. He cited her “gross mismanagement” as a key factor behind poor ticket sales.
Hill quickly responded with a detailed rebuttal, calling it “a baseless lawsuit” that was full of “false claims and unwarranted attacks.” She said Pras had omitted key details — like that she had expanded the tours specifically to help him pay his legal bills and had secured him advances that had not yet been paid back.
For more details on the lawsuit and Hill’s response, go read our entire story here.
Other top stories this week…
DIDDY, DIDDY & MORE DIDDY – It was a busy week for the indicted hip hop mogul, who stands accused of federal charges of sex trafficking and racketeering. Most notably, his lawyers formally launched an appeal of a judge’s ruling denying him bail, marking their latest effort to get him released ahead of his trial. He was also hit with two new civil lawsuits, one from a woman who claims he raped her in 2001 at his New York City studio, and another from a Florida model who alleges he repeatedly drugged and sexually assaulted her over a four-year period. Oh, and 120 more victims might be suing him soon, if you believe press statements by a Houston plaintiff’s lawyer.
WHAT’S NEXT FOR DIDDY CASE? – If you want a quick primer on the immediate next steps in the case — how soon might the trial be? where is he being jailed? — go read my explainer on the situation.
HIZZONER HIRES JAY-Z’S LAWYER – Facing a federal indictment of his own, New York City Mayor Eric Adams hired Alex Spiro of the law firm Quinn Emanuel, a prominent litigator with extensive music industry experience and a client list including Jay-Z, Megan Thee Stallion and 21 Savage. For a detailed breakdown of Spiro’s music litigation history, go read our full story here.
BRITNEY PERFUME BATTLE – A cosmetics company called Give Back Beauty hit back hard at a recent lawsuit filed by Revlon, which accused the smaller company of working with four ex-Revlon execs to “sabotage” the company’s decades-old fragrance partnership with Britney Spears. In the response, Give Back argued that Revlon only filed the “baseless” lawsuit because it was upset that Britney made the choice to “reject” the industry titan and sign with a competitor.
SUCKER PUNCH SETTLEMENT – DaBaby settled a civil lawsuit over a 2020 incident in which he allegedly sucker punched a property manager named Gary Pagar during a music video shoot at the man’s Los Angeles mansion. The settlement, reached two months after he took a plea deal to avoid jail time over the same episode, will avoid the need for a trial that had been set to kick off in November.
YSL JUDGE HAS HAD IT – Nearly two years after the trial kicked off, the judge overseeing Young Thug’s sprawling Atlanta gang trial reached her boiling point with the prosecutors trying the case. At a hearing in which she appeared visibly frustrated, Judge Paige Reese Whitaker complained of “poor lawyering, “baffling” decisions and steps to repeatedly “hide the ball.”
AI LAW VETOED – California Gov. Gavin Newsom vetoed a landmark bill aimed at establishing first-in-the-nation safety measures for large artificial intelligence models, a major blow to efforts attempting to rein in the homegrown industry that is rapidly evolving with little oversight. The bill would have established some of the first regulations on large-scale AI models, but Newsom and other critics said it would have had “a chilling effect on the industry.”