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A music producer who says he worked on Sean “Diddy” Combs‘ 2023 album The Love Album: Off the Grid is accusing the hip-hop mogul of sexual assault and harassment, sex trafficking and various other forms of misconduct in a sprawling lawsuit filed Monday (Feb. 26).
In the complaint, filed by plaintiff Rodney “Lil Rod” Jones Jr. in New York federal court, the producer accuses Combs of “groping and touching” his anus and trying to groom him into engaging in sexual acts with Combs and other individuals, including Love Album producer Steven Aaron Jordan (a.k.a. Stevie J) and a cousin of Combs’ ex-girlfriend Yung Miami (named as a Jane Doe defendant). He also claims that Combs “forced” him to “solicit sex workers,” some of whom were underage, as well as to “perform sex acts to the pleasure of Mr. Combs.”
In one alleged incident from February 2023, Jones claims he woke up “naked, dizzy, and confused” in a “bed with two sex workers and Mr. Combs” at Combs’ home in Miami and “believes” he was drugged by Combs.
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The lawsuit, filed by attorney Tyrone Blackburn, names several more defendants whom Jones claims conspired with Combs in an alleged “RICO enterprise” to enable his misconduct: Universal Music Group (UMG), its subsidiary Motown Records, Combs’ label imprint Love Records, UMG chairman/CEO Lucian Grainge, former Motown CEO/chairwoman Ethiopia Habtemariam; Combs’ chief of staff, Kristina Khorram; and Combs’ son, Justin Combs. Federal RICO cases, which are based on the Racketeer Influenced and Corrupt Organizations Act traditionally used to target the mafia and drug cartels, are brought to more effectively sweep up members of alleged crime rings. (Notably, the ongoing Georgia criminal case against Young Thug that alleges the rapper ran a violent Atlanta street gang is based on a Georgia statute modeled off of the federal RICO law.)
In this case, Jones claims the “RICO enterprise” in question was set up to recruit sex workers, some of them underage, and to acquire and distribute drugs and guns out of Combs’ Miami home. He accuses the participants in the alleged enterprise of keeping him under their control by threatening him with violence, ostracism from the music industry and nonpayment for work on the album, which he says he still has not been compensated for despite having allegedly produced nine tracks.
The lawsuit also brings up an alleged September 2022 incident at Chalice Recording Studio in Hollywood, during a writing and producing camp for The Love Album, that allegedly resulted in a man being shot in the stomach following a “heated conversation” between Combs, his son Justin Combs and another unnamed man. Following the incident, Jones claims Combs forced him to lie to police by telling them the man was injured in a drive-by shooting outside. Jones is suing Combs, UMG, Motown, Love Records and Chalice Recording Studio for providing “inadequate or negligent security” during the camp.
In a statement sent to Billboard, Combs’ attorney Shawn Holley said: “Lil Rod is nothing more than a liar who filed a $30 billion lawsuit shamelessly looking for an undeserved payday. His reckless name-dropping about events that are pure fiction and simply did not happen is nothing more than a transparent attempt to garner headlines. We have overwhelming, indisputable proof that his claims are complete lies. Our attempts to share this proof with Mr. Jones’ attorney, Tyrone Blackburn, have been ignored, as Mr. Blackburn refuses to return our calls. We will address these outlandish allegations in court and take all appropriate action against those who make them.”
A spokesperson for Justin Combs sent the following statement: “Justin Combs categorically denies these absurd allegations. They are all lies! This is a clear example of a desperate person taking desperate measures in hopes of a pay day. There will be legal consequences for all defamatory statements made about the Combs family.”
Representatives for UMG, Motown, Love Records, Grainge and Chalice Recording Studio did not immediately respond to requests for comment. Habtemariam could not be located for comment at press time.
Jones is asking for damages for loss of past and future income as well as “mental anguish, humiliation, embarrassment, stress and anxiety, emotional pain and suffering, and emotional distress”; punitive damages; and the costs of bringing the suit.
The Love Album was originally announced in May 2022 as a release on Combs’ newly formed imprint Love Records, to be released in tandem with UMG’s Motown. However, the album — which featured a laundry list of stars including Mary J. Blige, Burna Boy, John Legend, Justin Bieber and The Weeknd — was ultimately released independently in September 2023.
Jones’ lawsuit is just the latest in a string of legal accusations to be lodged against Combs over the past several months. In November, Combs’ longtime girlfriend, R&B singer Cassie, sued him for rape and physical abuse, though the case was promptly settled. He was subsequently sued by two more women for sexual assault and later by a Jane Doe who claimed Combs “sex trafficked” and “gang raped” her when she was 17. Combs has denied all of the allegations.
After Australian news reports stated that Taylor Swift‘s father, Scott Swift, had been accused of assaulting a photographer in Sydney, a rep for the pop star is telling her side of events. Sky News first reported that Swift’s 71-year-old dad was involved in an altercation with a photographer early Tuesday morning following Taylor’s final concert […]
Kanye West has called out Adidas once again after the apparel giant has moved forward with releasing what he calls “fake” Yeezy 350s, which the rapper claims are an unapproved design.
West — who now goes by Ye — got wind of Adidas’ plans to greenlight the “Steel Grey” 350 V2s featuring his designs and put his former business partner on blast on Instagram Monday (Feb. 26) while essentially calling for a boycott.
“Anybody who loves Ye would not buy these fake Yeezys I never made these color ways I’m not getting paid off of them and adidas is suing me,” he wrote in part in a lengthy caption alongside a screenshot of a photo of the footwear. “All the new non-approved 350’s are cooorny and everybody know the 350 been corny.”
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Shortly after, Ye posted a video to Instagram explaining his feud with Adidas, and claimed the company was suing him while trying to sell the Yeezy line.
“Not only are they putting out fake colorways that are non-approved, they’re suing me for $250 million and they’re also not paying me for these shoes that they’re putting out that have my name on it,” he claimed, speaking through his titanium dentures.
A spokesman for Adidas did not return a request for comment from Billboard.
Ye’s statements came after Adidas announced Monday that it would sell some of its remaining Yeezy inventory — a tricky problem for the company after splitting with Ye in 2022 following his string of hate speech and antisemitic comments. Since discontinuing the partnership, Adidas says it has donated some proceeds from such sales to groups that “combat discrimination and hate, including racism and antisemitism.”
As of Monday afternoon, there’s no evidence that Adidas has filed any kind of new lawsuit against West or his companies. But last year, Adidas disclosed that it had filed a private arbitration case against West’s Yeezy LLC in December 2022 on the grounds that West’s “racist, antisemitic, and other offensive public statements and conduct” had violated their partnership agreement and had caused “considerable damage to its brand.”
In claiming on Monday that Adidas was “suing” him, West could be referring to that arbitration case. It’s unclear whether $250 million is at stake in that case, or even whether that case is still ongoing, since arbitration proceedings are — by design — litigated behind closed doors.
There had appeared to be a possible path toward reconciliation between Ye and Adidas after the rapper was photographed meeting with the company CEO Bjorn Gulden last week, but that doesn’t look to be the case any longer.
The company started to sell Yeezy products again in May 2023 after cutting ties with the Chicago-bred rap star, and attempted to freeze $75 million worth of Yeezy funds in his bank account. A judge overturned the order to freeze the money a week later.
Don Henley said Monday that he never gave away handwritten pages of draft lyrics to “Hotel California” and other Eagles hits, calling them “very personal” in testimony that also delved into an ugly but unrelated episode: his 1980 arrest.
Henley, the Grammy-winning co-founder of one of the most successful bands in rock history, is prosecutors’ star witness in an unusual criminal trial surrounding the lyrics sheets.
Henley says they were stolen decades ago from his barn in Malibu, California. He testified Monday that he was appalled when the material began turning up at auctions in 2012.
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“It just wasn’t something that was for public viewing. It was our process. It was something very personal, very private,” he said in a raspy drawl. “I still wouldn’t show that to anybody.”
The defendants are three collectibles experts who bought the pages years later through a writer who had worked with the Eagles on a never-published band biography. The defense maintains that Henley willingly gave them to the scribe.
Under cross-examination, Henley acknowledged that he didn’t remember “the entirety” of his conversations with the writer, Ed Sanders, who isn’t charged in the case. Nor, Henley said, could he recall whether he gave Sanders permission to take the documents off the property.
But Henley insisted he gave Sanders only access to the documents, not permanent possession of them, in the hopes that a firsthand view of “the time and effort that went into” the lyrics would improve the book.
He said he told Sanders he could look at the pages, ideally at a breakfast table in an apartment upstairs from the barn.
“I never gave him permission to keep those items,” Henley said.
At issue are about 100 sheets of legal-pad paper inscribed with lyrics-in-the-making for multiple songs on the “Hotel California” album, including “Life in the Fast Lane,” “New Kid in Town” and the title track that turned into one of the most durable hits in rock. Famed for its lengthy guitar solo and puzzlingly poetic lyrics, the song still gets streamed hundreds of millions of times a year.
The defendants — rare-book dealer Glenn Horowitz and rock memorabilia specialists Craig Inciardi and Edward Kosinski — have pleaded not guilty to charges including criminally possessing stolen property. Their lawyers say there was nothing illegal in what happened to the lyrics sheets.
The defense has signaled that it plans to question Henley, 76, about how clearly he remembers his conversations with Sanders during an era in which the rocker was living in his own fast lane. In an apparent attempt to defuse some of those questions, a prosecutor brought up Henley’s 1980 arrest.
Henley pleaded no contest in 1981 to a misdemeanor charge of contributing to the delinquency of a minor, after authorities found cocaine, quaaludes, marijuana and a 16-year-old sex worker naked and suffering from an overdose at his Los Angeles home the prior November. He was sentenced to probation and a $2,500 fine, and he requested a drug education program to get some possession charges dismissed.
Henley testified Monday that he’d been depressed about the Eagles 1980 breakup and had sought “an escape” by calling a sex worker.
“I made a poor decision which I regret to this day,” he said.
As for his memory, he said, “I can’t tell you what I had for breakfast last Friday morning, but I can tell you where we stayed when we played Wembley in 1975 and we opened for Elton John and the Beach Boys,” referring to London’s Wembley Stadium.
Sanders began working with the Eagles in 1979 on a band biography that never made it into print. He sold the documents to Horowitz, who sold them to Kosinski and Inciardi. Kosinski has a rock ‘n’ roll collectibles auction site; Inciardi was then a curator at the Rock & Roll Hall of Fame.
In a 2005 email to Horowitz, Sanders said Henley’s assistant had sent him the documents for the biography project, according to the indictment.
Henley reported them stolen after Inciardi and Kosinski began in 2012 to offer them at various auctions.
Henley also bought four pages back for $8,500 in 2012. He testified that he resented having to buy back what he contends was his own property. But he said he saw it as “the most practical and expedient” way to get the auction listing, which contained photos of the lyrics sheets, off the internet.
Kosinski’s lawyers, however, have argued that the transaction implicitly recognized his ownership.
Meanwhile, Horowitz and Inciardi started ginning up alternate stories of how Sanders got hold of the manuscripts, Manhattan prosecutors say.
Among the alternate stories were that they were left behind backstage at an Eagles concert, that Sanders received them from someone he couldn’t recall, and that he got them from Eagles co-founder Glenn Frey, according to emails recounted in the indictment. Frey had died by the time Horowitz broached that last option in 2017.
Sanders contributed to or signed onto some explanations, according to the emails. He hasn’t responded to messages seeking comment about the case.
Kosinski forwarded one of the various explanations to Henley’s lawyer, then told an auction house that the rocker had “no claim” to the documents, the indictment says.
Henley has been a fierce advocate for artists’ rights to their work. Since the late 1990s, he and a musician’ rights group that he co-founded have spoken out in venues from the Supreme Court to Congress about copyright law, online file-sharing and more. As recently as 2002, Henley testified to Congress to urge copyright law updates to fight online piracy.
Henley also sued a Senate candidate over unauthorized use of some of the musician’s solo songs in a campaign spot. Another Henley suit hit a clothing company that made t-shirts emblazoned with a pun on his name. Both cases ended in settlements and apologies from the defendants.
Henley also testified to Congress in 2020, urging copyright law updates to fight online piracy.
Drake has his fellow Canadian crooner’s back, and appeared to voice his support for Tory Lanez in the Megan Thee Stallion shooting case. The 6 God took to his Instagram Story on Monday (Feb. 26), seemingly calling for Lanez’s freedom with a photo of the incarcerated singer, which he captioned: “3 you.” It’s possible Drake […]
A quarrel over alleged musical differences led to the murder of emerging corrido bélicos artist Chuy Montana two weeks ago, after he performed “songs … that did not please one of his aggressors” at a private party in a Tijuana motel, according to the Baja California State Attorney General’s Office.
The head of the agency, María Elena Andrade Ramírez, said during a Tuesday (Feb. 20) press conference that the reason for the murder of the singer, and another person who was his driver, was not because of his performance of narcocorridos — drug ballads that are banned in the border city — but because he continued singing songs that his assailants did not like.
“Apparently it was sentimental issues that influenced one of the aggressors,” Andrade Ramirez said at the press conference, which the prosecutor’s office provided a recording of to Billboard Español. “We are still in further investigation, but yes they were songs, let’s say, that did not please one of the aggressors.”
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“Maybe the situation was exacerbated by the state of drunkenness and drug use in which they were, because it is not common for them to have taken his life for that reason,” added the official after pointing out that they had all been consuming alcohol and drugs earlier that day.
According to initial investigations, in one of the searches at the Dubai Motel, located in the municipality of Rosarito, an ID of the singer and a gunshot wound were found.
The prosecutor said that after the argument, Montana was taken out of the motel in a vehicle, according to a video in possession of the Baja California District Attorney’s Office. She said that the recording also shows that the victim tried to get out of the vehicle, but he remained handcuffed and guarded by his assailants.
Montana’s body was found on Feb. 7 on the side of the Playas de Rosarito-Tijuana highway in the northern Mexican state of Baja California, with signs of violence and his hands handcuffed, according to an information card issued that day by the Baja California District Attorney’s Office.
Authorities ruled out any indication that organized crime was behind the murder of Montana — whose real name was Jesús Cárdenas — and his companion. The prosecutor said that so far, one person has been arrested and investigations are underway.
Tijuana is considered the fifth most violent city in Mexico, according to the 2022 ranking of the 50 most violent cities in the world compiled by the Consejo Ciudadano para la Seguridad Pública y la Justicia Penal organization.
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Montana, known for songs such as “Porte de Scarface” and “Qué Bendición,” was part of the roster of Street Mob Records, the label headed by Jesús Ortiz Paz (JOP) of Fuerza Regida.
Kodak Black is a free man once again after the Florida rapper was released from jail on Wednesday (Feb. 21), according to The Associated Press. U.S. District Judge Jose E. Martinez granted Kodak Black — real name Bill Kapri — time served following a probation violation. The “Super Gremlin” artist had a drug possession charge […]
A federal judge has dismissed a lawsuit accusing Aerosmith singer Steven Tyler of sexually assaulting a teenage girl decades ago, ruling that she had waited too long to bring her case.
Former teen model Jeanne Bellino sued the rocker in November, claiming he had forcibly kissed, groped and “humped” her twice over a single day in Manhattan in the summer of 1975. The case was filed under a recently-amended New York City law that allows abuse victims to sue over decades-old claims.
But in a ruling Wednesday, U.S. District Judge Lewis Kaplan ruled that Bellino’s case did not qualify under the new statute. He ruled that the special “lookback” window only applies to cases where the abuser’s actions presented a “serious risk of physical injury” – and that Tyler’s alleged actions did not do so.
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“The complaint in this case does not alleged conduct presenting a serious risk of physical injury and therefore fails to state a legally sufficient claim under the [NYC statute],” the judge wrote.
Wednesday’s ruling could be legally significant. Numerous other alleged victims who have filed long-delayed abuse cases under the law in question — New York’s Victims of Gender-Motivated Violence Protection Law – after it opened a two-year window for such lawsuits from March 1, 2023 to March 1, 2025.
Bellino sued in November, claiming she had suffered “severe and permanent emotional distress” over the incidents, which allegedly occurred when she was 17 and Tyler was 27. “Tyler used his power, influence, and authority as a well-known musician to sexually assault Plaintiff.”
In her complaint, Bellino claimed that she and a friend had arranged to meet Aerosmith in Manhattan. First, she said that Tyler pushed her into a phone booth and “stuck his tongue down her throat” before groping her and “humping her pretending to have sex with Plaintiff.” After she returned to a hotel with the band later in the day, she claimed that Tyler “again pinned Plaintiff against the wall” and forcibly kissed and groped her.
Tyler has not publicly commented on the lawsuit, but in court filings, his attorneys have said he “vehemently denies” the allegations. In their motion to dismiss the case, his lawyers argued Bellino could not use the New York City newly-enacted statute to sue over “purported sexual misconduct that occurred nearly half a century ago.”
“Ms. Bellino’s attempt to advance a claim based on legislative enactments decades after the purported misconduct occurred is contrary to the legislative intent, statutory construction, and fundamental notions of individual liberty and due process embedded in both the state and federal constitutions,” Tyler’s lawyers wrote in a motion earlier this month.
Wednesday’s ruling from Judge Kaplan granted that motion, dismissing the lawsuit. But the judge said Bellino could potentially seek to file an updated version of her case; he gave her until next month to request the right to do so. Neither side immediately returned requests for comment on Thursday.
The lawsuit was the second abuse case against Tyler in recent years. In 2022, the rock star was sued by Julia Holcomb, who claims that Tyler repeatedly assaulted her for three years starting in 1973, when she was just 16 years old. Holcomb claims to be the girl Tyler referred to in his memoir, Does the Noise in My Head Bother You?, when he wrote he “almost took a teen bride” and convinced her parents to grant him guardianship over her.
Holcomb’s case, filed in Los Angeles under a different look-back statute, remains pending. Tyler has denied those allegations, too, and his lawyers are seeking to have the case dismissed.
A new sexual assault lawsuit has been filed against Nigel Lythgoe, this time by an unidentified woman who claims the former American Idol and So You Think You Can Dance producer forcibly touched her in 2016.
The suit, filed on Saturday in Los Angeles Superior Court, is the latest against Lythgoe accusing him of sexual misconduct and abuse. After Paula Abdul sued the producer in December over two separate incidents of sexual assault, a pair of unnamed contestants on “AAG,” which is believed to be a reference to reality series All American Girl cited in a complaint from the women, came forward with accusations that he made unwanted sexual advances and groped them inside his Los Angeles home in 2003. That second suit was filed in January against a defendant with the initials “N.L.,” which multiple outlets identified as the producer.
Lythgoe stepped back from his on-camera and behind the scenes roles on SYTYCD in the wake of the allegations. The producer did not immediately respond to requests for comment for this story.
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The suit says the accuser met Lythgoe at a hotel in Beverly Hills and that he “insisted” on driving her home. The complaint describes the alleged assault, which took place inside his car over the course of at least ten minutes.
“Plaintiff tried to push Lythgoe away from her and instruct Lythgoe’s driver how to return to her house, but Lythgoe continued to grab at Plaintiff, fondle her breasts, and kiss her,” the suit states. “Lythgoe even shoved his hand up Plaintiff’s skirt and penetrated her genitalia.”
The woman claims the producer eventually relented once his driver arrived at her apartment after allegedly taking an unexpectedly long route. She alleges she continues to suffer severe mental anguish due to the incident.
The complaint brings claims for sexual battery, gender violence and intentional infliction of emotional distress. It seeks an unspecified amount in damages.
“It is troubling to hear of yet another alleged incident of a woman being taken advantage of and abused by a prominent public figure,” said Melissa Eubanks, a lawyer for the Jane Doe plaintiff who also represents Abdul in her suit against Lythgoe, in a statement.
In her complaint, Abdul accused Lythgoe of assaulting her twice during one of the early seasons of American Idol and years later when she was a judge on SYTYCD.
“Lythgoe shoved Abdul against the wall, then grabbed her genitals and breasts and began shoving his tongue down her throat,” the suit stated.
This article was originally published by The Hollywood Reporter.
A federal appeals court has rejected a copyright lawsuit that claimed Nickelback ripped off its 2006 hit “Rockstar” from an earlier song called “Rock Star,” ruling that the band can’t be sued simply for using “clichés” and “singing about being a rockstar.”
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Upholding a judge’s decision last year that tossed the case, the U.S. Court of Appeals for the Fifth Circuit ruled Monday that Kirk Johnston had not even come close to proving that Nickelback infringed his earlier song when it released “Rockstar.”
Johnston, the lead singer of a Texas band called Snowblind Revival, had argued that the two songs have such similar lyrics that the lower judge should have ruled that they were “strikingly similar,” but the appeals court sharply disagreed.
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“Johnston’s expert categorizes the lyrics into common themes such as ‘making lots of money,’ ‘connections to famous people,’ and ‘references to sports’,” the three-judge panel wrote. “But these broad categories are mere clichés of being a rockstar that are not unique to the rock genre. Singing about being a rockstar is not limited to Johnston.”
Ditto for other lyrics about sports, the appeals court wrote. Johnston’s song included the line “Might buy the Cowboys and that’s how I’ll spend my Sundays,” while Nickelback’s song featured the line “And a bathroom I can play baseball in.”
“These lyrics reference different sports in different contexts, and do not approach the threshold of striking similarity,” the appellate judges wrote. “No reasonable juror would think that Nickelback could have produced its lyric about baseball only by copying Johnston’s lyric about football.”
Released on Nickelback’s 2005 album, All the Right Reasons, “Rockstar” has not aged well with critics. In 2008, the Guardian said the song “makes literally no sense and is the worst thing of all time.” In 2012, Buzzfeed listed it as the second-worst song ever written, citing it as an example of “why everyone hates Nickelback so much.” But the song was a commercial hit, eventually reaching No. 6 on the Billboard Hot 100 in September 2007 and ultimately spending nearly a year on the chart.
Johnston sued in May 2020, claiming the hit song had stolen “substantial portions” of his own “Rock Star,” including the “tempo, song form, melodic structure, harmonic structures and lyrical themes.” In particular, he cited similar lyrics about rock star lifestyles, making huge amounts of money and having famous friends.
But in March 2023, U.S. District Judge Robert Pitman that Johnston’s case at times “borders on the absurd.” He said any similarities between the two songs were just “outlandish stereotypes and images associated with being a huge, famous, rock star,” and that much of the rest of the songs were different.
“Stated simply, they do not sound alike,” the judge wrote. “Where both songs evoke similar themes, they are rendered dissimilar through the vivid detail of the original expression in Nickelback’s lyrics.”
On Monday, the Fifth Circuit upheld that decision – meaning that, barring an extremely unlikely trip to the U.S. Supreme Court, the case is over for good.
In the ruling, the appeals court also upheld another important finding: That there was zero evidence that frontman Chad Kroeger and the other members of the rock band ever heard Johnston’s earlier song. Such “access” is a key question in any copyright lawsuit; without showing “access”, an accuser like Johnston must prove that two songs are essentially identical.
In appealing that ruling, Johnston argued that his band Snowblind Revival and Nickelback were “moving in relatively the same circles,” or that UMG executives had potentially attended one of his band’s shows at an Austin concert venue. But the appeals court was unmoved, calling it “mere speculation.”
“Inferring access from this evidence would require ‘leaps of logic’ that are not supported by the record,” the appeals court wrote. “A jury would have to infer that the executives Johnston named actually attended Snowblind’s shows or received one of his demo CDs, and that these executives then showed the song to Nickelback. This “chain of hypothetical transmittals is insufficient …especially in the face of testimony from Nickelback members and relevant executives that they had never heard of Johnston’s song.”
Attorneys for both sides did not immediately return requests for comment on Wednesday.
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