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Danity Kane singer Dawn Richard continued her testimony Monday at Sean “Diddy” Combs’ sex-trafficking trial, telling jurors that the rapper would “frequently” assault Cassie Ventura — including once at a restaurant in front of Usher and other celebrities.
The testimony from Richard, who rose to fame on Combs’ MTV reality show Making the Band, kicked off the second week of Combs’ criminal trial, in which the music mogul is accused of coercing Ventura and others into participating in drug-fueled sex shows known as “freak-offs.”
Days after she told the jury that she witnessed Combs abusing Ventura — including once trying to attack her with a skillet — Richard recounted other alleged assaults, according to CNN, The New York Times and other media reports.
In one alleged incident, she testified that Combs punched Ventura in the stomach at a Los Angeles restaurant where Usher and other celebrities were present. “She immediately bent over, he [Combs] told her to leave,” Richard testified, according to People. “No one intervened.”
A rep for Usher did not immediately return a request for comment from Billboard. The New York Post reported that Richard’s testimony left it “unclear” if Usher and other A-listers present had actually witnessed the alleged attack.
Later on Monday (May 19), Richard was grilled by defense attorney Nicole Westmoreland over apparent inconsistencies in her testimony, including the infamous skillet statements. In one such exchange, defense attorney pressed Richard about changes in her recollections about Combs’ drug use.
“You would agree with me that as time progresses your story changes,” Ms. Westmoreland asked. “Yes,” Richard replied.
Combs was indicted in September, charged with running a sprawling criminal operation aimed at facilitating the freak-offs — elaborate events in which Combs and others allegedly pressured Ventura and other victims into having sex with escorts while he watched and masturbated. Prosecutors also say the star and his associates used violence, money and blackmail to keep victims silent and under his control.
Once one of the music industry’s most powerful men, Combs is accused of racketeering conspiracy (a so-called RICO charge), sex trafficking and violating a federal prostitution statute. If convicted on all of the charges, he faces a potential life prison sentence.
During opening statements last week, defense attorneys told jurors that Ventura and other women had consensually taken part in the sex parties. They admitted that Combs had committed domestic violence during his and Ventura’s “toxic” relationship and had unusual sexual preferences, but that he had never coerced her into participating in his “swinger” lifestyle.
Ventura, the prosecution’s star witness, spent four days on the stand last week detailing how Combs allegedly controlled and physically abused her during their 11-year relationship.
After Richard wrapped up on Monday, Ventura’s longtime friend Kerry Morgan took the stand, testifying about multiple incidents in which she says she saw Combs attack Ventura. In one, she said Combs entered a bathroom and that she could hear Ventura screaming.
“It was guttural, terrifying. I heard her screaming so I went to the long hallway, they were coming out of the master bedroom and he was dragging her by her hair,” Morgan said, according to NBC News.
Later in the afternoon, jurors heard from David James, a former assistant to Combs, who testified that he once told Ventura she should leave the superstar, but that she felt she was unable to do so.
“I can’t. I can’t get out,” James said Ventura told him, citing the fact that he controlled her music career, paid for her lodgings and was her source of income: “I just didn’t think that she could easily leave.”
The trial is expected to pick up again on Tuesday (May 20) with more testimony from James. The proceedings are expected to last until early July.
Jalen Brunson is staking his claim for the King of New York. Brunson has led the New York Knicks back to the Eastern Conference Finals for the first time in 25 years, after NYK dismantled the heavily favored Boston Celtics in six games. With the Indiana Pacers on deck, Brunson took to Instagram on Monday […]
Calvin Harris has responded to accusations of plagiarism by veteran trance producer Chicane. In a video posted to Instagram last week with the caption “copyright alert,” Chicane sat at his computer and explained why he believes that Harris’ most recent single, “Blessings,” shares similarities with his 1996 song “Offshore,” playing each track and comparing them. […]
Ye (formerly Kanye West) will not be performing in South Korea this month, as his May 31 concert has been cancelled.
According to Korean ticketing platform Interpark Global, West’s May 31 show at Incheon Munhak Main Stadium was cancelled due to “recent controversies” surrounding the rapper. The vendor didn’t expand on exactly what controversy surrounding Ye caused the cancellation.
“We regret to inform you that the ‘YE LIVE IN KOREA’ concert, originally scheduled for Saturday, May 31, 2025, has been cancelled due to recent controversies involving the artist Kanye West (YE),” a message from Interpark Global’s website reads. “We sincerely apologize for the inconvenience this may cause. We kindly ask for your understanding. All purchased tickets will be automatically cancelled, and full refunds will be processed sequentially.”
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Reuters also confirmed on Monday (May 19) that the West concert would not happen with South Korean e-commerce company Coupang.
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West has been spotted in Mallorca, Spain, in recent weeks with his wife, Bianca Censori, as well as streamers Sneako and Digital Nas.
The embattled rap visionary has been wrapped up in various controversies over the course of the last few months as he’s spewed anti-semitic and anti-LGBTQ rhetoric on his social media platforms.
Ye claimed that his controversial “Heil Hitler” song was banned from all digital streaming platforms after attempting to release the track earlier this month.
“Heil Hitler by Ye has been banned by all digital streaming platforms,” Ye wrote on X while calling out the double standard he sees in streaming censorship. “While Rednecks by Randy Newman remains streamable They’re literally keeping the n—-s down.”
West’s last interview saw him storm off an appearance on Piers Morgan’s Uncensored show earlier in May, within minutes of the sit-down. “You’re not gonna take inches off my di–, bro,” the Chicago native said before he left the interview. “I’m a gift, bro. Why do all you people in media act like you haven’t played my songs at your weddings, or graduations or at funerals or when your child was born?”
He continued: “You take someone like that’s living, like a [John] Lennon or a Michael Jackson. That nuance right there is idiotic. It just shows the hate that you put out for people that put out love. There’s so much love in the art that I put out. This is what you get for now, we can circle back when you can count.”
Billboard has reached out to reps for Ye for comment.
After revealing that the Foo Fighters had dropped him for “no reason” last week, drummer Josh Freese has shared a list of possible catalysts for the band’s surprising decision.
In a lighthearted post on Instagram Monday (May 19) — three days after he first shared the news of his removal — the musician shared a graphic labeled, “Top 10 possible reasons Freese got booted from the Foos.”
The reasons listed include, “Once whistled ‘My Hero’ for a week solid on tour” (No. 10) and “Metronome-like precision behind the kit deemed ‘soulless’” (No. 7), as well as “Never once tried growing a beard” (No. 5). A proud owner of several of the curly-haired dogs, Freese also mused that the No. 1 possible reason for the shakeup was that the “whole poodle thing was getting to be a bit much.”
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In his caption, Freese simply shared the hashtags, “#lol,” “#peaceoutrainbowtrout” and “#byefelicia.”
The percussionist had been the Dave Grohl-fronted band’s drummer since 2023, taking over the sticks after Taylor Hawkins died the year prior. Before that, he worked as a session musician for The Offspring, Lostprophets, the Replacements and more bands.
On Friday (May 16), he shared via a statement on Instagram, “The Foo Fighters called me Monday night to let me know they’ve decided ‘to go in a different direction with their drummer.’ No reason was given.”
“Regardless, I enjoyed the past two years with them, both on and off stage, and I support whatever they feel is best for the band,” he continued in the post. “In my 40 years of drummer of drumming professionally, I’ve never been let go from a band, so while I’m not angry, [I’m] just a bit shocked and disappointed.”
At the time of Freese’s announcement, representatives for the Foo Fighters declined Billboard’s request for comment.
See Freese’s post below.
Ikimonogakari recently released their 11th full album, Asobi (“Play”). Following the release of their previous album, Maru, their first release since becoming a duo, Kiyoe Yoshioka and Yoshiki Mizuno have had a series of firsts: their first overseas show, their first acoustic show at the Budokan, and their first acoustic concert tour. In addition to previously released singles, the album also contains the new song “Irodori” and collaborations with artists such as Humbert Humbert, fox capture plan, Nao Matsushita, and “Yu Asobi.” Bonus tracks include “Koisuru Otome – From THE FIRST TAKE,” which generated a lot of buzz on social media. The songs on the album are the product of the duo allowing themselves to take on music with a sense of freedom, joy, and playfulness.
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Billboard JAPAN talked to the two about this new album, a second “debut” after they began a new chapter as a band.
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Let’s start by talking about what you’ve been doing overseas. In June of 2024 you performed at the 35th Golden Melody Awards in Taiwan, and then in July you performed at the Tencent Music Entertainment Awards in Macao. How was the response?
Mizuno: I was surprised at the cheering, this tremendous “Whoooooaaaaa!”
Yoshioka: The audience’s tone of voice and the volume of the cheering was totally different than with a Japanese audience. Sometimes my singing was swallowed up by the cheering.
Mizuno: When I’d start a guitar solo, there’d also be that “Whoooooaaaaa!” cheer.
Yoshioka: The audience really put their emotions and reactions into their voices.
What song got the biggest reaction?
Mizuno: “Blue Bird.” People overseas listen to it a lot, and it seems the audiences all knew it.
Yoshioka: When we performed ballads like “SAKURA,” the whole audience was swaying side to side, too. Even despite the language barrier, the emotion of the song came across, which made me really happy.
After your overseas performances, you finished your new album, Asobi. Since the last album, Maru, you’ve been busy with live shows, such as the shows in China, and also releasing new songs. You’ve had quite the packed schedule. Looking back, what do you remember about this period?
Mizuno: After releasing Maru, we did have a time when we were really focused on live shows. We put on a performance hall tour, played at a few festivals, and put on an acoustic show at the Budokan. We had a lot of opportunities to play in front of audiences, and every day was really stimulating for us. This had a positive influence on our song-writing, and I think we also changed a lot deep down inside. I also met all kinds of people through my HIROBA project and put out an album, which was a great experience. I was able to bring that experience back with me to Ikimonogakari. Sho Hasumi from Daw90000 wrote lyrics for me (on “Anohi No Koto meets Sho Hasumi”) and I got the courage to connect with people outside our circle. Yoshioka enjoyed that, too.
Yoshioka: Mizuno, who is Ikimonogakari’s leader, would actively propose new things we’d never tried before, like performing with just the two of us on stage. At first, I was really nervous, but gradually I came to enjoy doing new things. There was a lot of trial and error, of course, and it was really challenging, but the creation process also really stimulated my curiosity.
The album has songs with lyrics written by other creators (“Jigazou meets Yu Asobi” and “Anohi No Koto meets Sho Hasumi”). That was an ambitious choice.
Mizuno: I think it was about seven or eight years ago, we had a meeting with our staff and I said, “What about having someone else write some lyrics for us?” Our director at the time said “Don’t you think you should still keep writing the lyrics yourself?” At the time, that made sense, and I was like, “You’re right,” but years have passed since then and we’ve had all kinds of new experiences. We’ve come to see change as a positive thing, and we’re okay with people from outside the group getting involved. We feel secure now that even with outside involvement, the end result will be proper Ikimonogakari.
Yoshioka: I was really nervous at first, though (laughs). But when Mizuno said “I want to ask someone else to write the lyrics,” it felt really natural, so I took a positive outlook on it, like “I think it’ll work out fine.” Everyone on the team was like “Let’s give it a shot.”
If someone else writes the lyrics, the words will also match up with the music in a different way.
Yoshioka: Right. I’ve always sung Mizuno’s lyrics to Mizuno’s music, so I’ve developed what I guess you could call habits. After recording, I realized I’d had to get rid of those habits when I sang. It felt very natural putting the words to music, which I liked.
Mizuno: You develop habits, or perhaps color, and I hoped that by changing that color we’d produce something new. I’ve been working with Yoshioka since we were in our teens, and we’ve grown together. Yoshioka’s way of singing has become part of me, and my melodies, and the melodies of (Hotaka) Yamashita, have become a part of Yoshioka. So when you’re singing lyrics that aren’t part of that, you find that you can’t sing them the way you normally would (laughs). I was very curious about how my own melodies would sound. It was fun taking on that challenge with Hasumi’s lyrics and Yu Asobi’s lyrics.
What’s behind the title of the album, Asobi?
Mizuno: I feel like the process of creating our last album, Maru, was very stoic. On this album, fortunately, we had a lot of tie-in songs and a lot of variety. The context of each song was also totally different, so we were having a hard time coming up with a concept that would tie them all together. We were thinking about different possibilities when the conversation turned to maybe seeing the rich variety of the album in a positive light instead of trying to put everything in one box. The idea of “play” (in Japanese, “asobi”) came up through that conversation.
Yoshioka: Right.
Mizuno: Since the idea of that title, Asobi, came up, I suggested working with outside artists on the songs. A lot of different artists took part on IKIMONOGAKARI meets (a collaborative album in which 12 artists interpreted Ikimonogakari songs in new ways), and this time I wanted us to “meet” them.
Yoshioka: When the word “play” came up, everyone got really excited. The whole room lit up. It felt like if we went in that direction, we’d come up with something good. Like Mizuno said, the creation of Maru was a very stoic process, and it felt like with this album, we could go in a totally different direction. We had this fun concept in mind as we created the new album.
This has been called a second “debut” after you began your new chapter as a band, and it really is packed with songs that go in new artistic directions. Do you feel like the creation of Asobi will be influencing your future work?
Mizuno: Over the last four or five years, there have been a lot of big events in our lives. We separated from our talent agency, a member left, and Yoshioka had a baby. A lot of our songs were shaped by our story. In 2024, it felt like we really focused on the music itself, and we had a lot of fun both performing live and recording songs. We’ve walked a lot of roads, and I think now we’re really able to focus on “what I should sing as a singer,” “what I should write as a songwriter,” and “what kinds of artists we should work with as a group.” We’ve come full circle, back to where we started, and we can move forward from here. I hope a lot of people listen to our new album, and, personally, I’m really happy to be able to look forward to the future.
Yoshioka: As I mentioned earlier, we’ve taken on a lot of different challenges, like playing at the Budokan as just a duo or performing street shows. We’ve worked with a lot of artists on our album. We’ve kept trying new things, and that’s become normal for us now. I think we’ve created a great album, and I feel like we’ll keep diving into new things in the future. In the past, I’ve been the type that gets nervous about new things (laughs), but I’ve come to see how fun taking on new challenges can be. I’m glad we’ve been able to open this door that will lead us in new directions.
—This interview by Tomoyuki Mori first appeared on Billboard Japan
Miley Cyrus has unveiled the titles that make up Something Beautiful, with the pop star revealing her upcoming album’s tracklist Monday (May 19). In a cinematic video shared on her social media accounts, the names of the 13 songs on the album flash in white text in between shots of Cyrus modeling a number of […]
Jennifer Lopez is facing copyright infringement claims for allegedly posting two paparazzi pictures of herself outside a Golden Globes pre-party in January without paying to license the photos.
Lopez was hit with a pair of federal court lawsuits on Saturday (May 17) from photographer Edwin Blanco and photo agency BackGrid USA. They say they co-own the two images of the pop singer and actress standing outside the Amazon MGM Studios x Vanity Fair Party at Los Angeles’ swanky Bar Marmont the night before this year’s Golden Globe Awards on Jan. 4.
A lawyer for Blanco and BackGrid alleges Lopez posted the photos to her Instagram and X accounts on Jan. 5 without permission. This supposedly set off a spate of reposts from fan pages and fashion brands, including the designer of a faux fur coat Lopez was wearing in the photos.
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“Ms. Lopez’s unauthorized use of the Images is commercial in nature, intended for the purpose of self-promotion,” wrote attorney Peter Perkowski. “For example, Ms. Lopez used the images to spotlight the designer of her clothing and jewelry, leveraging the publicity from the event to promote her fashion affiliations and brand partnerships.”
According to the lawsuits, a representative for BackGrid and Blanco contacted Lopez’s team about the alleged copyright infringement the next week. Perkowski says the two sides had “fruitful discussions” and orally agreed to a monetary settlement, but Lopez never signed a written settlement agreement and has not paid the promised money.
The lawsuits also note that Lopez was previously sued in 2019 for posting an unauthorized paparazzi image of herself and her then-boyfriend Alex Rodriguez to her Instagram account. That case, also brought by Perkowski, was ultimately dismissed voluntarily in 2020.
“This prior litigation placed Ms. Lopez on notice regarding the legal requirements and potential consequences associated with the use of copyrighted images without proper authorization,” continued Perkowski. “Despite this, Ms. Lopez has continued to engage in similar conduct, demonstrating a willful disregard for BackGrid’s copyrights through a pattern of behavior that undermines the rights of content creators.”
BackGrid and Blanco are accusing Lopez of willful infringement under the federal Copyright Act, which could entitle them to damages of up to $150,000 per photo.
Lopez’s reps did not immediately return a request for comment on Monday (May 19).
While seemingly strange, it’s quite common for celebrities to be sued for posting paparazzi photos of themselves to social media. Artists including Miley Cyrus, Dua Lipa and Justin Bieber have all faced similar lawsuits in the last few years.
As Billboard wrote in 2022, U.S. copyright law is on the side of photographers and image licensers. Though it may seem unfair, celebrities do not automatically co-own images of themselves and therefore don’t have the right to repost them for free.
Kai Cenat will be making his directorial debut behind the camera as the streamer’s been tapped by Drake and PartyNextDoor to direct the OVO duo’s video for “Somebody Loves Me”. Cenat explained during a live stream on Saturday (May 17) that he’s going to direct the visual for Drake and PND’s moody hit, but also […]
In a swift follow-up to Jin’s debut solo album, Happy, released just six months ago, BTS‘ global superstar and resident rock enthusiast returns with Echo. Released on May 19, the seven-track journey explores more of the rock-influenced soundscapes that have shaped his musical identity, for deeper stories that can resonate on a more human level. […]
