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Chris Brown’s legal troubles in the UK have taken a new turn, as authorities have charged a second man in connection with the alleged nightclub assault involving a broken bottle in 2023.
Rapper HoodyBaby, born Omololu Akinlolu, is now facing a charge of grievous bodily harm with intent. According to a statement from London’s Metropolitan Police, HoodyBaby is set to appear before Manchester Magistrates’ Court this Saturday. The case has already seen Brown ordered to remain in custody until his upcoming hearing on June 13 at Southwark Crown Court in London.
The timing couldn’t be worse for the singer, who is preparing to launch his international “Breezy Bowl XX” tour, scheduled to begin on June 8 in the Netherlands. Whether or not the tour will proceed as planned remains unclear in light of these legal developments. HoodyBaby isn’t just a name in the rap scene, he’s also a close associate of Brown and has collaborated with him on several tracks. Most notably, he featured on “No Such Thing” from Brown’s 2020 collaborative album with Young Thug, “Slime & B”.
As the investigation unfolds, the involvement of a second individual adds complexity to the case. While both men are presumed innocent until proven guilty, the charges they face are serious and could lead to significant legal consequences. The music world now watches closely as two longtime collaborators find themselves entangled in a high-profile criminal case.
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Spring has officially sprung at Coach Outlet.
The hallowed apparel and accessories brand is back with their new spring-centric arrivals, sure to refresh your wardrobe for the season ahead. Long gone are the days of boring winter neutrals. We’re talking all things bags, imbued with personality and equipped with youthful florals, playful fruit prints and pastel hues galore that’ll have your former bag collection green with envy. Here’s how to shop Coach Outlet’s latest spring drop like a pro.
Rowan Satchel Bag With Strawberry Print
A white coated canvas bag with a playful strawberry print.
Nothing screams spring more than a strawberry. While the juicy fruit is great to snack on, the motif also makes for a great print on bags. For their latest spring drop, Coach’s coated canvas-crafted Rowan received a strawberry face lift that offered the bowling-esque bag a playful touch. While this is one of many fruit-printed styles that Coach dropped for spring, this one has a special place in our strawberry-loving hearts.
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Equipped with an outside zip pocket, inside zip, multifunction pockets and detachable straps, the Rowan is extremely functional, making it the perfect bag for work. With the removable straps function, the style can transform into a date night essential, going from casual to formal in seconds. The shiny gold hardware adds a sophisticated touch that contrasts the white canvas.
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City Bucket Bag
A bucket bag with a striped strap and a colorblocked aqua colorway.
The City bucket bag is a maximalist’s dream. The color scheme evokes spring seaside days and saltwater taffy in shades of seafoam and deep blue. The bag’s leather construction is sturdy enough to sling around without worry, while the detachable straps give the bag a customized feel that changes along with your mood. Coach logo detailing in silver ties the bag together, giving the style an instantly recognizable feel.
This piece is great because it is comprised of contrasts, from the structural composition to the whimsical color scheme that doesn’t take itself too seriously. The style effectively bridges the gap between formal and casual. We can envision the City bag being your next go-to for vacations. Picture it. The spring breeze carding through your hair, a drink in hand and the colorblocked bucket bag slung over your shoulder. It doesn’t get any better than that.
Mollie Tote Bag
A mini tote with a yellow pastel colorway and lemon print.
Coach’s totes are iconic. How could they possibly make it any better? With a lemon print, of course. Like the other fruit-centric picks on this list, the Mollie tote was imbued with a playfulness that screams spring. From the pastel yellow color scheme to the zingy lemon print, we are utterly obsessed. Zip-top closure and side open compartments come in clutch for storage, offering the whimsical bag a utilitarian aspect.
Like the other bags on this list, the Mollie also features detachable straps. Worn with baggy light-wash jeans and a crisp white tee, this bag becomes a statement-maker worthy of snapping a few outfit pictures. You’ll want to take the lemon-printed Mollie absolutely everywhere this spring, and we don’t blame you.
Smith Tote Bag 24
A tote bag with Coach logo detailing and white leather uppers.
Retailing for $189, the Smith tote is a stand-out style on this list. Understated and oozing sophistication, this tote is tiny but mighty. Key features include an endlessly versatile color scheme of cream and tan, along with ample multifunction pockets and a detachable strap that transforms this tote into a nifty crossbody within seconds.
With wedding season coming up, this bag would make a great addition to a formal ensemble. We’re talking to you, last-minute wedding shoppers. Or you could dress the Smith down for the office, paired with tailored slacks and a cozy knit. The styling possibilities are endless.
Laurel Shoulder Bag
A deep green shoulder bag with Coach logo detailing.
The Laurel shoulder bag gives us visions of a lush green garden teeming with life. Retailing for $199, the slouchy shoulder style is equipped with durable but soft leather uppers, accompanied by fabric lining, all cast in a head-turning forest green hue. The silver logo detailing fixed to the front acts to mirror the silver hardware, creating a cohesive look.
Like its other spring counterparts, the Laurel can also transform into a crossbody. This colorway is beautiful, but might give some folks trouble when it comes down to styling. We recommend wearing this baby with classic closet staples in neutral hues. Think deep blue high-waisted denim or a tried-and-true black leather jacket. You’ll want to pull prints and colors that don’t compete with the vibrant green hue the Laurel boasts. It’s all about creating balance.
Jamie Camera Bag
A colorblocked camera bag in pink and red with Coach logo detailing.
Coach’s Jamie Camera bag is great for a lot of things, not just holding your camera equipment. The updated spring silhouette features colorblocked peach and red hues set against brown panels accented with Coach’s signature “C” print. The bag is rectangular and meant to sit crossbody, however, it can also be worn as a classy little clutch or slung over the shoulder.
Gold accents in the logo and hardware offer the silhouette personality and shine. We could also see this being a great bag to take with you to your next concert, given it’s compact and can be worn in a variety of hands-free ways. This colorful piece would look great styled with black jeans and a flirty blouse. If you’re in the mood for a more vibrant ensemble, pick a color found in this Jamie colorway, peachy pink or red might work, and coordinate your outfit accordingly. It’s that simple.
City Tote Bag In Signature Canvas With Orange Print
Coach’s classic tote bag but with an orange fruit print.
While citrus season may be coming to a close, you can still celebrate the sweet and sour fruit category with Coach’s orange-printed City Tote. Retailing for $179, the brand’s classic tote silhouette received a spring makeover, equipped with Coach’s iconic canvas alongside a contrasting cute orange print. This bag is also a great one to take to the office, given how roomy it is.
Worn with simple and clean pieces like a cropped white tee and low-rise denim, the orange-centric tote becomes the center of attention. The key to this bag’s success lies within the print. The citrus-themed print easily dresses up any look, creating visual interest. Pulp or no pulp, sour or sweet. We are sure you’re going to love the orange-printed City tote.
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.
Regional Mexican music imprint Kartel Music is rebranding as K Music, it was announced on Monday (May 19).
Founded in 2019 in Riverside, Calif., the label has played a pivotal role in promoting regional Mexican music while helping drive its recent global expansion.
“This rebranding to K Music marks a significant milestone for our team and artists,” said Freddy Becerra, CEO/co-founder of K Music, in a statement. “In just a few years, our artists have topped charts and earned recognition from global tastemakers like Billboard. Our new name reflects an ambition with no borders.”
The decision to renew the brand is part of a strategy that promises to “continue to amplify its impact,” a press release reads, adding: “The new identity reflects the label’s evolution and global ambitions, reaffirming its commitment to growth rather than signaling any detachment from its cultural roots.”
K Music also boasts a refreshed visual identity and updated logo.
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Leonardo Soto, CFO/co-founder, added, “Our name may be new, but our heart remains the same. K Music will continue to uplift the Mexican talent and culture that shaped Kartel Music, even as we expand into new territory.”
K Music represents some of the genre’s hottest stars, such as Luis R Conriquez, who graced the cover of Billboard last September. His 2024 album, Corridos Bélicos, Vol. IV, debuted at No. 5 on Top Latin Albums, No. 3 on Regional Mexican Albums and No. 36 on the Billboard 200. Then there’s Tony Aguirre, who boasts 7.5 million monthly listeners on Spotify and has collaborated with Xavi and Luis R in the early stages of their careers.
The label is also home to acts such as Dinamicos Jrs and Joel de la P, who has written hits for Peso Pluma and Tito Double P and released his breakout track, “Dembow Bélico.” K Music’s rebranding comes six years after its launch amid an ongoing crackdown on narcocorridos in Mexico.
Ed Sheeran wants the U.S. Supreme Court to finally end one of the long-running lawsuits claiming his “Thinking Out Loud” infringed Marvin Gaye‘s “Let’s Get It On,” calling a recent appeal to the high court “baseless.”
The star’s accuser — a company that owns a partial stake in Gaye’s 1973 song — asked the justices earlier this year to revive the case, which was dismissed in November after a lower court ruled that the two tracks share only basic “musical building blocks.”
In a response Friday (May 16), Sheeran’s attorneys said the “Thinking” case is not the kind of precedent-setting case that’s worth the Supreme Court’s time — but that the accusers are using a “false premise” and “baseless assertions” as it “pretends” that it is.
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“The question which petitioner purports to present is not actually presented by this case but has been fabricated in effort to attract this court’s attention,” Sheeran’s lawyers wr0te. “The petition should be denied.”
Sheeran has faced multiple lawsuits over “Thinking,” a 2014 track co-written with Amy Wadge that reached No. 2 on the Billboard Hot 100 and ultimately spent 58 weeks on the chart.
He was first sued by the daughter of Ed Townsend, who co-wrote the famed 1973 tune with Gaye. That case ended in a high-profile jury verdict that cleared Sheeran of any wrongdoing.
Thursday’s petition came in a separate case filed by a company called Structured Asset Sales (SAS), an entity owned by industry executive David Pullman that controls a different stake in Townsend’s copyrights to the legendary song. That suit was rejected in November by the federal Second Circuit appeals court, which said the lawsuit was essentially seeking “a monopoly over a combination of two fundamental musical building blocks.”
“The four-chord progression at issue — ubiquitous in pop music — even coupled with a syncopated harmonic rhythm, is too well-explored to meet the originality threshold that copyright law demands,” the appeals court wrote. “Overprotecting such basic elements would threaten to stifle creativity and undermine the purpose of copyright law.”
In a petition to the Supreme Court in March, SAS argued that the appeals court’s ruling had unfairly restricted its allegations to written sheet music rather than all elements included in Gaye’s iconic recorded version. That thorny issue, which has also cropped up in other major cases over “Blurred Lines” and “Stairway To Heaven” in recent years, must finally be resolved by the high court, the company said at the time.
“The rights of thousands of legacy musical composers and artists, of many of the most beloved and enduring pieces of popular music, are at the center of the controversy,” SAS’s lawyers wrote.
In Friday’s response, Sheeran’s lawyers said the stakes of the case had been vastly overstated — that the case law was clearly settled, that there was no controversy among the lower courts, and that it was SAS that was threatening to upend the law: “The self-serving free-for-all petitioner posits would foment vast uncertainty and encourage rampant speculation, decades after the fact.”
Appeals to the Supreme Court, known as petitions for writ of certiorari, face extremely long odds. The court takes less than 2% of the roughly 7,000 cases it receives each year, hearing only the disputes it deems most important to the national legal landscape.
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. […]
As Joey Bada$$ handles California cats like Ray Vaughn, Reason, AzChike and Daylyt on his lonesome, it looks like the West Coast isn’t giving up last year’s “Not Like Us” and GNX-feuled momentum without a fight. Over the past few months, Joey has been heralding his return to the rap game with slick boom-bap tracks […]
