Lizzo Quits Music And Nobody Seems To Care

American rapper and singer Lizzo, born Melissa Viviane Jefferson, has been a prominent figure in the music industry, known for her body-positive messages and empowering anthems. However, recent legal troubles and public scrutiny have taken a toll on her well-being, leading her to make a dramatic announcement on Instagram: “I quit.”

The Instagram Post

In a heartfelt Instagram post, Lizzo expressed her frustration with the constant negativity she faces. She wrote:

“I’m getting tired of putting up with being dragged by everyone in my life and on the internet. All I want is to make music and make people happy and help the world be a little better than how I found it. But I’m starting to feel like the world doesn’t want me in it. I’m constantly up against lies being told about me for clout & views… being the butt of the joke every single time because of how I look… my character being picked apart by people who don’t know me and disrespecting my name. I didn’t sign up for this shit—I QUIT.”

The Legal Troubles

Lizzo’s decision to quit comes amid ongoing legal battles. Here are the key points:

1. Sexual Harassment Lawsuit: Three of Lizzo’s former dancers—Arianna Davis, Crystal Williams, and Noelle Rodriguez—filed a lawsuit against her. They accused her of creating a hostile work environment, weight shaming, and forcing one of them to touch a naked performer at an Amsterdam bar. The lawsuit also alleges that Lizzo criticized and fired a dancer after she videotaped a meeting due to a health problem. The dancers claimed they were coerced into attending sexual shows and engaging with other dancers^.

2. Racial Discrimination: Lizzo and her production company, Big Grrrl Big Touring, were accused of treating black dancers differently from other members. The lawsuit highlighted discriminatory behavior and unequal treatment within the dance team^.

   Body Shaming Allegations: Lizzo allegedly body-shamed one of her former dancers, pressuring her to touch another performer’s breasts. The lawsuit claims that Lizzo and her choreographer questioned the dancer’s commitment due to her weight gain. The dancer felt compelled to reveal personal details to keep her job^.

The Impact

Lizzo’s emotional Instagram post reflects the toll these legal battles and public scrutiny have taken on her mental and emotional well-being. Despite her positive messages and uplifting music, she now faces a harsh reality: fame often comes with a price.

While Lizzo made efforts to align with ‘woke’ culture, she discovered that this culture is insatiable, perpetually craving greater compliance. Not only did Lizzo promote unhealthy lifestyle choices by proudly embracing her weight, but she also altered lyrics in one of her songs to appease an outraged crowd offended on behalf of disabled individuals. The lesson for aspiring artists is to authentically express their truth without compromising their identity or convictions.

Diddy's LA & Miami Homes Raided by Homeland Security Amid Sex Trafficking Suspicions

Homeland Security Investigations agents, along with other law enforcement officials, raided Sean "Diddy" Combs' residences in Los Angeles and Miami as part of a potential sex trafficking inquiry, confirmed U.S. authorities on Monday. The raids were carried out in collaboration with various law enforcement partners, according to a statement from Homeland Security Investigations (HSI) New York. The investigation is ongoing, with further details to be disclosed later. Last November, two women accused the music mogul of sexual misconduct, following a prior settlement with singer Cassie involving allegations of rape and physical abuse. These legal actions coincided with the Adult Survivors Act's deadline, allowing sexual abuse victims a one-year window to pursue civil cases irrespective of statutes of limitations. Douglas Wigdor, Cassie's attorney, expressed support for law enforcement's efforts to hold Combs accountable for his alleged misconduct. Additionally, court documents revealed a woman's accusation against Combs and two others for gang rape in 2003, when she was 17, under New York City's gender-motivated violence protection law. The recent raid occurred approximately a month after Combs faced another lawsuit for sexual assault, this time from producer Rodney “Lil Rod” Jones, marking the fifth legal challenge since his former partner, Casandra Ventura, sued him in November for sexual assault.

Along with the raid it also appears that Diddy’s sons Justin and King Combs were handcuffed and possibly detained.

Meanwhile, Diddy’s private jet was tracked to the Caribbean. While it’s unclear if Diddy is with the jet in Antigua, it does appear that the jet has been flying up and down the west coast over the weekend before heading to the Caribbean.

UPDATE:

Diddy was seen pacing outside of the Miami airport near the customs office just two hours after the raid of his Miami home. It seems he was for his associates he was traveling with.

The ELVIS Act: Tennessee’s Stand on AI and Artist Rights

On Thursday afternoon, Tennessee distinguished itself as the inaugural state to implement the ELVIS Act, safeguarding its citizens' voice, image, and likeness rights from artificial intelligence abuses.

Gov. Bill Lee ratified the bill into law at Robert's Western World, a Lower Broadway honky-tonk, flanked by musicians and state officials. "This bill is so much bigger than just the music community," he declared. "This bill protects all Tennesseans."

Before the bill's enactment, Gov. Lee remarked, "There are certainly many things that are positive about what AI does. It also, when fallen into the hands of bad actors, it can destroy this industry."

He elaborated, "It can rob an individual, these individual artists to whose unique God-given gifts transform people's lives. It can steal those gifts, it can impersonate those gifts, it can subsequently create fake works that rob those artists of their intellectual property...

The ELVIS Act incorporates artists' voices into Tennessee's existing Protection of Personal Rights statute, enforceable as a Class A misdemeanor by district attorneys. Artists and entities with exclusive licenses, such as labels and distribution groups, have the right to pursue civil litigation for reparations.

Personal accounts were shared by Natalie Grant and Matt Maher, contemporary Christian musicians, and David Hodges, a songwriter and co-founder of the rock band Evanescence.

The bill's advocates include Luke Bryan, Chris Janson, CMA Entertainer of the Year Lainey Wilson, songwriter Jamie Moore, Maggie Rose, Matthew West, and Tom Douglas, along with Recording Academy CEO Harvey Mason, Jr. and Lindsay Ell. Lainey Wilson also presented her experiences to Congress, describing “a gut punch it is to have your name, your likeness or your voice ripped from you and used in ways that you could never imagine or would never allow.” Gov. Lee mentioned that the proposed legislation was crafted with substantial contributions from music industry figures. The governor's office lists the following supporters of the governor's legislation: The Academy of Country Music, American Association of Independent Music, The Americana Music Association, American Society of Composers, Authors and Publishers (ASCAP), Broadcast Music, Inc. (BMI), Church Music Publishers Association (CMPA), Christian Music Trade Association, Folk Alliance International, Global Music Rights, Gospel Music Association.

Additional backers are: The Living Legends Foundation, Music Artists Coalition, Nashville Musicians Association, National Music Publishers’ Association, Rhythm & Blues Foundation, Screen Actors Guild – American Federation of Television and Radio Artists (SAG-AFTRA), Society of European Stage Authors and Composers (SESAC), Songwriters of North America (SONA), and the Tennessee Entertainment Commission. Critics like Hannah Cox argue that the ELVIS Act violates the First Amendment.

She stated, "I understand the concerns proponents of this bill have with the potential for AI to undercut their incomes. But those concerns must be balanced with ones of equal importance: free speech and the free market. This bill fails on both of those counts." At the signing ceremony, Mitch Glazier, CEO of RIAA, addressed The Tennessean, saying, "There is no bill in the entire world that can ever prevent the First Amendment from protecting people.

"I thought that this bill did a great job of giving guidance about what those First Amendment protections are, but very importantly, it said if it's protected by the First Amendment, that's fine. But if it's not protected by the First Amendment, Tennessee is going to act to protect artists. I thought that was a great line to draw."

Music Icons Neil Young and Joni Mitchell Return to Spotify After Protest

Legendary musicians Neil Young and Joni Mitchell have returned their catalogs to Spotify after a notable absence. The duo had previously pulled their music from the streaming giant in early 2022, citing concerns over misinformation related to COVID-19 being spread on the platform.

Neil Young, known for his influential music and activism, initially removed his music in protest against the platform’s hosting of Joe Rogan’s podcast, “The Joe Rogan Experience.” Young accused the podcast of spreading misinformation about COVID-19 vaccines and demanded Spotify to make a choice—his music or Rogan’s podcast. His bold move was a statement against what he perceived as life-threatening misinformation reaching the music-loving public. Young’s initial stance was clear: "Spotify, the home of life-threatening Covid misinformation. Selling lies for money … They can have Rogan or Young. Not Both”

Joni Mitchell, another towering figure in the music world, joined Young’s protest shortly after, removing her catalog from Spotify. She expressed her stance clearly, stating, “Irresponsible people are spreading lies that are costing people their lives.” Mitchell’s solidarity with Young and the global scientific and medical communities underscored the seriousness of the issue.

The return of both artists to Spotify comes after the platform’s exclusivity deal with Rogan’s podcast ended, allowing it to be streamed on multiple platforms. While there has been no official statement from Mitchell regarding her return, Young clarified that his decision to bring his music back was not an endorsement of Spotify’s policies but a recognition that other major streaming services had also begun presenting Rogan’s podcast.

Despite their return, the underlying issues that prompted their initial departure remain a topic of discussion. Young has continued to advocate for improved sound quality on Spotify, suggesting the addition of a limited Hi Res option to enhance the listening experience for audiophiles.

While facing criticism for various controversial statements, some of Joe Rogan’s assertions have garnered consideration over time. A notable trend is the hesitancy among young individuals to receive the vaccine amid increasing reports of myocarditis, particularly in younger populations. Concurrently, the CDC has shifted its approach to managing COVID-19, now advocating for strategies akin to those used for influenza. Additionally, a surge in legal actions seeking redress for vaccine-related injuries has sparked debate, highlighting concerns over the adequacy of testing for long-term effects. These developments reflect a subset of the broader discourse that has emerged in the pandemic’s wake.

Amidst Reproductive Rights Debate, Rodrigo Takes Action with Emergency Contraceptives

Olivia Rodrigo has fulfilled her commitment to enhance awareness and access to reproductive health services by partnering with the Missouri Abortion Fund to offer free emergency contraceptives, condoms, and abortion information to attendees of her “Guts” world tour.

At her show on March 12 in St. Louis, Mo., attendees had the opportunity to take a package containing two boxes of Julie — an emergency contraceptive effective in preventing pregnancy if used within 72 hours following unprotected intercourse — along with cards featuring QR codes that link to resources for abortion access and the Missouri Abortion Fund. Additionally, fans mentioned receiving complimentary condoms and stickers. Prior to her “Guts” tour, Rodrigo revealed the inception of Fund 4 Good, a project that “works to support all women, girls and people seeking reproductive health freedom,” as stated in a video.

Rodrigo mentioned that the fund will provide direct support to local nonprofits dedicated to advancing girls’ education, reproductive rights, and the prevention of gender-based violence. She also declared that a share of her ticket sales revenue would be contributed to the Fund 4 Good, and for her concerts in North America, she has collaborated with the National Network of Abortion Funds, allocating a booth at each concert venue for the organization.

Rodrigo’s activism is particularly significant amidst the diminishing reproductive rights in the U.S. Following the reversal of Roe v. Wade, 21 states — Missouri included — have completely prohibited or heavily curtailed abortion access. The Missouri Abortion Fund playfully praised Rodrigo’s actions in a post on X, citing her lyrics: “It’s brutal out here in Missouri, but we are here for abortion access and hand out Plan B with @TextRightByYou.” Julie’s statement expressed: “We launched Julie to rewrite the morning-after experience for a new generation. Replacing the stigma and shame often linked with emergency contraception with access, exploration, and education is fundamental to our identity, and we are grateful to artists like Olivia Rodrigo and organizations like the Missouri Abortion Fund that align with our vision. Through Julie for All, we match every purchase of a morning-after pill with a donation to someone in need. We are honored to have provided over 1M units to more than 300 partners across the country.” Olivia Rodrigo's campaign to provide Plan B at her performances has elicited a variety of responses. Numerous fans and advocates have commended her initiative, yet certain conservative factions and persons have voiced objections. They contend that the distribution of emergency contraception by Rodrigo may foster a nonchalant approach to sexual relations and erode established moral principles. These detractors are concerned that such measures might adversely affect impressionable young fans, prompting conduct they consider to be reckless.

SXSW 2024 HIT BY ARTIST BOYCOTT AMID DEFENSE INDUSTRY LINKS

Several artists have withdrawn from the 2024 SXSW festival in solidarity with Palestine, citing the event's links to the defense sector. The festival features exhibits by the U.S. Army and participation from Collins Aerospace, part of the defense firm RTX Corporation (previously known as Raytheon). Ella Williams, known on stage as Squirrel Flower, was the initial artist to cancel her official showcase appearances. She stated on Instagram on March 4, "Genocide profiteers like Raytheon supply weapons to the IDF, paid for by our taxes," and added, "A music festival should not include war profiteers. I refuse to be complicit in this and withdraw my art and labor in protest." Following her lead, Eliza McLamb, Shalom, and Mamalarky also withdrew, acknowledging Squirrel Flower's stance. McLamb expressed on Twitter, "I will never put my name on or perform my labor for an event in service of the US war machine, and especially not now as they continue to fuel the ongoing violence against Palestinians," and declared, "Blood money has no place in music." Despite these cancellations, these artists plan to perform at unofficial events in Austin during the SXSW dates, from March 8 to March 16. The Austin for Palestine Coalition has previously urged the festival to sever connections with RTX and BAE Systems, a UK defense contractor, and to reconsider the involvement of the Department of Defense, pushing SXSW to "advocate for peace, justice, and human rights" in Gaza. The coalition stated, "If SXSW wishes to retain its credibility, it must change course by disavowing the normalization of militarization within the tech and entertainment industries," and suggested, "By taking decisive action, SXSW can set an example for other industry events and join other artists, musicians, creative organizations, and the majority of Americans in the fight for a world free from violence and oppression."

Additionally, bands such as Proper, Merce Lemon, and Gel have also opted out. Flatspot Records canceled its "Flatspot World" showcase, with Scowl, the headlining act, tweeting, "We refuse to be complicit in the face of genocide in Palestine," and emphasizing, "We refuse to be complicit in the war machine." Kneecap expressed their stance, tweeting that they "cannot in good conscience attend an arts festival that has 'The U.S. Army' as a 'Super Sponsor' and is platforming RTX (formerly Raytheon)." Support for the artists' decision to cancel their performances has also come from Get Better Records and the labor organization United Musicians and Allied Workers.

House of Blues Chicago Calls Off Matisyahu Show Due to Security Concerns From Pro Palestine Protest

The Friday night performance at the House of Blues, featuring American Jewish reggae singer and rapper Matisyahu, was called off due to concerns over potential protests.

Just hours before the scheduled event, Live Nation notified ticket holders of the cancellation without providing a specific reason, only mentioning that refunds were being processed.

Matisyahu expressed his disappointment on social media Friday afternoon, stating, "Dear Fans, it deeply saddens me to share this with you. Our sold-out show tonight at the House of Blues Chicago won't be happening due to a threat of protests. The situation remains confusing, with all parties involved blaming each other. However, I assure you, our security team has not reported any threats of violence, and they're always in the know about the situation in every city we visit."

He revealed that despite the event's cancellation, the House of Blues compensated him, and he intends to donate these funds to support the families of hostages held by Hamas, in a gesture made "in honor of International Women's Day" to recognize "the women and girls still held captive by Hamas" and "United Hatzalah of Israel," a volunteer emergency medical service.

Matisyahu emphasized, "This setback won't deter us. The broader implications of yielding to such pressure threaten the very core of artistic freedom, intellectual integrity, and the empathy needed to bridge divides. We remain committed to our performances, opposing hatred, and advocating for peace."

Prior to the cancellation, the U.S. Palestinian Community Network-Chicago and the Chicago Alliance Against Racist and Political Repression announced their intent to protest Matisyahu's concert, criticizing him as a "racist, Zionist musician" and stating he was unwelcome in Chicago.

In their opposition, they argued, "Hosting a musician who has entertained the Israeli Occupation Forces, supported Israel and the AIPAC lobbying organization, and denied the ongoing genocide is unacceptable."

Once the concert was canceled, the planned protest was also called off, with the USPCN claiming victory on social media, highlighting the power of collective action.

Matisyahu has experienced similar issues recently, with last month's concerts in Santa Fe and Tucson being canceled due to venue staff objections. He addressed these incidents on social media, suggesting the cancellations were either due to anti-Semitism or a misunderstanding of his empathetic stance towards both Israelis and Palestinians.

Despite these challenges, protests have not stopped Matisyahu's performances entirely. A show in Minneapolis went ahead despite protests, demonstrating his determination to continue his music and message. He also performed in Milwaukee and has scheduled appearances in Detroit and Cleveland, standing firm against opposition.

Wyclef Jean Calls For Haiti PM To Step Down Amidst Canabal Gang Seige

Wyclef tweeted a call for Prime Minister Heny to step down saying: “I urged Haiti’s de facto PM @DrArielHenry 2 resign 2 prevent bloodshed. Today Haiti is in the midst of chaos & an armed revolution, with innocent casualties. Time 4 the intl community & CARICOM 2 act & remove him. When will Enough be enough!?!”

Wyclef Jean, the renowned musician and Haitian native, has long been a vocal advocate for his homeland. His connection to Haiti runs deep, having been born there before immigrating to the United States. Jean rose to fame as a member of the Fugees and later as a solo artist. His commitment to Haiti has been evident through his humanitarian efforts, particularly following the devastating 2010 earthquake. He even made a bid for the Haitian presidency in 2010, although he was ruled ineligible due to residency requirements.

Jean’s tweet reflects his continued engagement with Haitian politics and his concern for the country’s welfare amidst the current crisis. His call for international and Caribbean Community intervention underscores the urgency of the situation and the need for a peaceful resolution.

Unfortunately, Haiti is once again at the crossroads of a significant crisis. The recent turmoil, often labeled as a “revolution,” is a manifestation of deep-seated issues that have plagued the country for decades.

The assassination of President Jovenel Moïse in July 2021 left a power vacuum that has yet to be filled, exacerbating the already volatile political landscape. Prime Minister Ariel Henry, who stepped in as the interim leader, has faced widespread criticism for his perceived absence and alleged corruption during critical times which many believe has contributed to the escalation of the crisis.

The economic challenges in Haiti, compounded by natural disasters and the COVID-19 pandemic, have pushed the population to the brink. The rise of powerful gangs, particularly the G9 Family and Allies, has intensified the lawlessness and violence. This coalition of gangs, led by the notorious Jimmy “Barbecue” Chérizier, controls significant portions of Port-au-Prince and has been involved in acts of terror, including a mass jailbreak.

“Unfortunately, Barbecue is now the most powerful man in Haiti,” said Judes Jonathas, an independent consultant based in Port-au-Prince.

Jimmy “Barbecue” Chérizier and his gang is accused of being a cannibals with a now deleted video showing their alleged taste for human flesh. The nickname “Barbecue” is said to have come from his mother’s occupation of selling fried chicken, although some suggest it’s due to a more sinister reason related to his alleged violent actions.

From the The US Department Of State:

Secretary Antony J. Blinken will travel to Kingston, Jamaica today (March 11, 2024) to attend the High-Level Meeting on Haiti convened by the Conference of the Heads of Government of the Caribbean Community (CARICOM). The Secretary will discuss the proposal developed in partnership with CARICOM and Haitian stakeholders to expedite a political transition in Haiti through the creation of a broad-based, independent presidential college as well as the deployment of a Multinational Security Support Mission to address the ongoing security crisis.

The Secretary will also meet with Jamaican Prime Minister Andrew Holness to discuss bilateral and regional issues and reaffirm our strong and enduring ties with Jamaica.

The United States, historically involved in Haiti’s affairs, has continued to provide humanitarian aid, support for security, and long-term development assistance. However, the effectiveness of this involvement is a subject of debate, with critics arguing that it has at times undermined Haiti’s sovereignty.

To be clear, Wyclef has not shown support for the G9 Family takeover but is calling for a peaceful transference of power from a currupt interim PM to a democratically elected leader.

The “revolution” in Haiti is not sparked by a single event but is the result of a complex interplay of political instability, economic hardship, gang violence, government inaction, and human rights violations. The international community’s response, including a UN-authorized security mission, aims to restore security and democratic governance. Yet, the future of Haiti remains uncertain as it navigates through these tumultuous times.

Air Takes Flight with ‘Moon Safari’ 25th Anniversary Tour

The ELECTRONIC FRENCH DUOAir is celebrating the 25th anniversary of “Moon Safari” with a commemorative tour. This autumn, they will embark on a journey, performing the album in full for the first time, mirroring their recent European circuit.

The tour, spanning 19 dates, initiates in Vancouver at the Queen Elizabeth Theatre on September 19, then proceeds along the West Coast, stopping in cities like Seattle and San Francisco, with a duo of performances in Los Angeles. The Midwest leg includes Minneapolis, Chicago, and Detroit, followed by the East Coast and southern states, concluding in Austin at the Moody Amphitheatre on October 30.

Ticket sales commence on March 8 at 10 a.m. local time, with an early presale on March 7 at the same time. Before the tour, the band will unveil a deluxe 25th-anniversary edition of “Moon Safari,” enriched with demos, live sessions, and more, on March 15. They’ve recently unveiled “New Star in the Sky (Demo 1),” a preview of the upcoming rarities. Initially, the band described their space-pop debut as “a truly obsessive hommage to easy listening, a sublime Eurocheese omelet,” crafted from quintessential Sixties French kitsch elements like bongos, castanets, retro electric piano, dreamy synths, and lush organ sounds reminiscent of soundtracks from films such as “Un Homme et Une Femme.”

Below are the North American tour dates for “Air Moon Safari”:

• Sept. 25 – Vancouver, BC @ Queen Elizabeth Theatre

• Sept. 27 – Seattle, WA @ Benaroya Hall

• Sept. 29 – Los Angeles, CA @ Orpheum

• Sept. 30 – Los Angeles, CA @ Orpheum

• Oct. 2 – San Francisco, CA @ The Masonic

• Oct. 4 – Denver, CO @ Bellco Theater

• Oct. 6 – Minneapolis, MN @ State Theatre

• Oct. 8 – Chicago, IL @ Auditorium Theatre

• Oct. 10 – Detroit, MI @ Fox Theatre

• Oct. 12 – Toronto, ON @ Massey Hall

• Oct. 13 – Montreal, QC @ Place Bell

• Oct. 15 – Boston, MA @ MGM Music Hall at Fenway

• Oct. 17 – Philadelphia, PA @ The Met

• Oct. 18 – Washington DC @ The Anthem

• Oct. 21 – New York, NY @ Beacon Theatre

• Oct. 24 – Atlanta, GA @ Tabernacle

• Oct. 26 – Miami Beach, FL @ Fillmore Miami Beach

• Oct. 29 – Dallas, TX @ Music Hall at Fair Park

• Oct. 30 – Austin, TX @ Moody Amphitheatre

AI is Upendending The Music Production Industry Faster Than You Think

The advent of AI in music production has reached a new zenith with the release of Suno AI Version 3, a tool that could potentially upend the industry. Suno AI boasts the ability to generate fully-fledged, high-quality songs from mere text prompts, a technological leap that mirrors the advancements seen in AI-generated video content.

Just a year ago, AI-generated videos were a novelty, often lacking in detail and realism. Today, platforms like Sora are producing videos with such intricate details that they are beginning to supplant traditional movie production roles. This shift has prompted significant reactions from industry leaders, including Tyler Perry, who reportedly paused a major studio expansion project in response to the capabilities of AI like Sora.

The implications for the music industry are profound. Production companies, independent artists, and movie scoring houses stand to save substantial sums by utilizing AI tools that streamline the creative process, bypassing the need for human musicians. AI mastering suites like Landr have been reducing the demand for traditional mastering services for some time, and now, AI mixing apps are following suit.

The ripple effect extends to visual arts as well, with text-to-image applications enabling independent artists to create their own album artwork instantly, reducing the need for graphic designers. While live performances currently remain a domain largely untouched by AI, the role of musicians is evolving. DJs and Spotify playlists have already replaced many live performers, and the prospect of AI-generated, tailor-made playlists crafted in real-time for specific audiences is on the horizon.

As we stand at this crossroads, it's crucial to reflect on the rapid progression of AI over the past year and to ponder what the landscape will look like in the near future. The pace of change suggests that the music industry, as we know it, may be on the cusp of a transformation driven by artificial intelligence.

Meek Mill Refutes Homosexuality Allegations Amidst New Lawsuit Against Diddy

Meek Mill refuted allegations of being homosexual after his fans speculated that he was one of the undisclosed names mentioned in a new sexual assault lawsuit against Sean “Diddy” Combs.

“I’m from Philly I don’t do coke or freaky ass molly … nobody won’t even offer me coke because I’m that heavy …. No man or watt would ever approach me about gay activity and the whole place don’t get flipped … woke up seeing this on every blog like they know I’m coming! lol,” he posted on Twitter on Wednesday.

“Yall see these rappers with gay styles they want that look … leave that too (sic) them I come from that gangsta s–t surviving in the jungle!” the “Dreams and Nightmares” rapper — whose real name is Robert Rihmeek Williams — stated in a separate post on X. When a fan advised Mill, 36, that he had the “right to remain silent,” he responded, “I have the right to say I ain’t gay and I’ll trash anybody that play with my manhood lol.”

The “All Eyes on You” artist then tweeted about his sexual experiences with women, revealing that he has sex with a woman “twice a day” when she’s in his presence.

“P–y don’t control me but it’s like a high… one love to the gay people but that juicy p–y do it for meeeeee I done ran red lights to get that feeling yall weird on here like devils lol,” he penned. Mill’s name has been trending on X after fans speculated about him being a redacted name in a new lawsuit against the founder of Bad Boy Records, aged 54.

In the lawsuit lodged on Monday by Rodney “Lil Rod” Jones and procured by TMZ, the former producer and videographer for Combs alleged that the hip-hop billionaire confessed to him about having sexual relations with an unarmed rapper, an R&B singer, and Bad Boy producer Stevie J. (Stevie J — whose birth name is Steven Jordan — has refuted all accusations.)

“Mr. Combs informed Mr. Jones that he had engaged in sexual intercourse with rapper (REDACTED), R&B singer (REDACTED), and Stevie J,” the lawsuit stated. However, a footnote in the lawsuit suggested the rapper in question was “a Philadelphia rapper who dated Nicki Minaj,” while the unidentified R&B singer was characterized as someone who “performed at the Superbowl [sic] and had a successful Vegas residency.”

Mill, who was born and raised in Philadelphia, was in a high-profile relationship with the “Anaconda” rapper, whose real name is Onika Maraj, from 2015 to 2017.

In response to the speculations, Mill posted on X: “lol they really used a gay narrative to try to overshadow the drop of my songs or damage my image … I have a sound where it’s millions of people that need that type motivation music… It’s no stopping me!”

Singer from Danger Danger Caught Attempting Fraud After Purchasing Guitar from Toledo Music Store

A Toledo-based music store, Small Box Music, claims that Ted Poley, the lead singer of the glam metal band Danger Danger, tried to scam them out of a guitar and then launched a smear campaign against them on social media.

According to the store’s Facebook page, Poley visited the store and bought a guitar from them. However, he later called the store and said he was not happy with the guitar and wanted to keep it and get a refund. He allegedly told the store that he would report the charge as fraudulent to his credit card company, effectively stealing the guitar from the store.

The store said they offered Poley a full refund if he returned the guitar, but he refused and started to harass their employees and post false information about the transaction on social media. He also encouraged his fans to leave negative reviews for the store on Google, damaging their reputation and business.

The store linked to Poley’s messages and posts, as well as some of the one-star reviews they received from his followers. They asked their customers and supporters to help them out by leaving positive reviews and spreading the word about their situation. They also thanked their loyal customers for their support and said they were proud to be a small business in Toledo.

Poley is best known as the lead vocalist of Danger Danger, a band that rose to fame in the late 1980s and early 1990s with hits such as “Naughty Naughty” and “Bang Bang”. He was fired from the band in 1993 and later sued them over the release of their third album, Cockroach, which featured his vocals. He rejoined the band in 2004 and has been performing with them ever since. He has also released several solo albums and collaborated with other artists.

Both Poley and the store were contacted for comment, but neither responded by the time of writing this article. However, it appears that Poley has deleted his posts and most of the negative reviews have been removed from the store’s Google page. It is unclear if the matter has been resolved or if any legal action will be taken.

Eagles: Don Henley In Court For Stolen Lyrics From “Hotel California” & Minor Sex Scandle

Seated at a witness stand in a Manhattan court on Monday, Don Henley, the renowned musician and member of the Eagles, found himself in the midst of a high-stakes legal drama concerning allegedly stolen handwritten lyrics to songs from the band's iconic album, "Hotel California." Clad in a dark suit, tie, and white shirt, Henley exuded a mix of gravity and resolve as he navigated through questioning, aiming to convey his perspective while grappling with the weight of the situation.

Throughout the trial, which had commenced in New York Supreme Court the previous week, the courtroom witnessed moments of tension and emotion, with Henley occasionally struggling to contain his feelings. One such instance arose when he was asked about his recollection of sending legal pads containing lyric drafts to writer Ed Sanders over 40 years ago for research on the Eagles' planned biography. In a firm and assertive tone, Henley rebutted the suggestion, stating, "I don't recall offering to send him lyric pads." His demeanor reflected a sense of indignation at the notion of unauthorized possession and sale of the band's creative materials.

The trial, now in its fourth day, revolves around three individuals — Glenn Horowitz, Craig Inciardi, and Edward Kosinski — who stand accused of conspiring to sell the alleged stolen lyric notepads. The defendants have maintained their innocence, claiming ignorance of any contractual obligations or wrongdoing regarding the disputed materials. Central to the prosecution's case is the argument that the defendants violated a contract with the Eagles by failing to return the lyric notepads after Sanders had concluded his never-published biography on the band.

The proceedings offered a glimpse into the Eagles' illustrious career and the meticulous creative process that defined their music. Henley, accompanied by three bodyguards as he entered the courtroom, provided insights into the band's songwriting methods, detailing how he and his partner Glenn Frey would rent a house in Los Angeles to exchange ideas, chords, and melodies. He described the use of yellow or white pads purchased from a stationery store on Ventura Boulevard as they crafted the lyrics that would become synonymous with the Eagles' legacy.

Moreover, Henley's testimony delved into the emotional turmoil surrounding the band's breakup, which was announced in 1982. He candidly admitted to feeling devastated and in denial when Frey, the band's founder and president, informed him of the decision to disband. Reflecting on the significance of the Eagles in his life, Henley confessed, "The band meant everything to me," underscoring the profound personal and professional impact of the dissolution.

The trial took a surprising turn when the prosecution confronted Henley with questions about his past, including whether he had ever been convicted of a crime. In a moment of vulnerability, Henley recounted an incident from 1980 involving drugs and a minor, acknowledging a "poor decision" that he regretted deeply. Henley, ordered a 16 year old prostitute to his home where she subsequently overdosed but stopped seizing by the time police and paramedics arrived to his home. Drugs were found on the premise and Henley and The Minor was arrested.

Amidst the legal proceedings, the courtroom also witnessed revelations regarding the band's association with Ed Sanders and the genesis of the disputed biography project. Henley expressed skepticism about Sanders' suitability for the task, citing concerns about his unconventional lifestyle and approach to the subject matter. Despite reservations, Henley acknowledged providing Sanders access to the lyric pads in an effort to enhance the quality of the biography, unaware of the ramifications that would ensue.

As the trial progresses, Henley's testimony continues to be a focal point, offering crucial insights into the band's history and the events surrounding the disputed lyric notepads. The courtroom exchanges underscore the intricate legal and personal dynamics at play, with Henley's demeanor and testimony shaping the narrative of the trial. As observers await further developments, the proceedings promise to unravel the complexities of the case while shedding light on the enduring legacy of one of rock music's most iconic bands.

Diddy Sued For Sexual ASSAULT By Former Male Emoyee

Sean “Diddy” Combs found himself embroiled in a legal battle on Monday as a producer from his latest album filed a lawsuit in federal court, alleging a litany of egregious actions including sexual harassment, drugging, and threats spanning over a year. The producer, Rodney “Lil Rod” Jones, who claimed to have closely collaborated with Combs during the production, asserted that he endured a harrowing ordeal marked by what he described as “serious illegal activity.”

According to the lawsuit filed in the U.S. District Court for the Southern District of New York, Jones lived and traveled extensively with Combs from September 2022 to November 2023, meticulously documenting their interactions, including video and audio recordings. Among the disturbing allegations detailed in the lawsuit was Combs' purported coercion of Jones into procuring sex workers, pressuring him into engaging in unwelcome sexual acts, and even allegedly providing spiked alcoholic beverages at parties held in his residences.

The legal document further implicated not only Combs but also his adult son, Justin, his chief of staff, Kristina Khorram, Universal Music Group CEO Sir Lucian Grainge, and former Motown Records CEO Ethiopia Habtemariam as defendants. The lawsuit suggested that these individuals, along with Motown Records, Love Records, and Universal Music Group, were complicit in a purported RICO enterprise, failing to adequately monitor or intervene in the alleged misconduct perpetrated by Combs, his son, and his chief of staff.

Jones, seeking $30 million in damages, accused Combs of a litany of offenses, including sexual harassment and assault, which he claimed occurred across various locations, including Combs’ residences in Florida, Los Angeles, and New York, as well as on a rented yacht in the U.S. Virgin Islands. The lawsuit painted a disturbing picture of continuous unwanted advances, with Jones alleging that he was subjected to constant unsolicited and unauthorized touching.

Furthermore, Jones alleged that when he attempted to voice his concerns about Combs’ behavior to Khorram, she dismissed them as mere “friendly horseplay,” effectively enabling and abetting Combs’ alleged misconduct. The lawsuit also accused Khorram of actively facilitating an environment conducive to Combs’ behavior, going as far as to suggest that she collaborated with Combs in grooming Jones into accepting unwanted advances.

Jones also claimed that he was coerced into soliciting sex workers and engaging in sexual acts to appease Combs, who allegedly leveraged his influence and power within the music industry to intimidate and manipulate Jones into compliance. The lawsuit recounted instances where Combs allegedly boasted about his influence and connections, even going so far as to threaten bodily harm if Jones refused to comply with his demands.

In addition to the detailed allegations of sexual misconduct, the lawsuit also touched upon the professional aspect of their relationship, asserting that Jones was essentially exploited for his musical talents without fair compensation. Despite producing songs for Combs’ album, “The Love Album: Off the Grid,” Jones claimed he was not adequately compensated, leading to unjust enrichment for Combs, Love Records, Motown Records, and Universal Music Group at his expense.

Complementing the allegations were purported evidence in the form of video and audio recordings obtained by Jones during his tenure with Combs. These recordings, according to the lawsuit, captured instances of what Jones described as “serious illegal activity,” providing a chilling backdrop to the allegations laid out in the legal document.

Finally, the lawsuit referenced a specific incident on February 2, 2023, where Jones claimed he woke up naked, disoriented, and allegedly drugged in bed with Combs and two sex workers. Jones’ attorney, Tyrone Blackburn, used the Latin phrase “res ipsa loquitur,” loosely translating to “the thing speaks for itself,” in reference to the lawsuit, implying that the evidence presented therein was self-evident.

Overall, the lawsuit represents a comprehensive and damning account of alleged misconduct perpetrated by Combs and others, spanning a range of reprehensible behaviors from sexual harassment and assault to exploitation and coercion.

International musicians Face Financial Burden as U.S. Visa Fees Soar

The U.S. Government has recently announced a significant increase in the fees for O and P visas, which are non-immigrant temporary worker visas granted by the United States. The changes are set to take effect from April 1, 2024. The new fee for an O visa, granted to an individual who possesses extraordinary ability in the sciences, arts, education, business, or athletics, is $1,055, up from $460.

On the other hand, the P visa, which is often utilized by independent artists, athletes, and entertainers, has seen its fee rise from $460 to $1,015. This type of visa is particularly important for those who wish to perform at specific events, competitions, or performances in the U.S.

The U.S. Citizenship and Immigration Services (USCIS) stated that the increase is necessary to cover operational costs and avoid future backlogs. This suggests that the USCIS is aiming to improve its services and reduce processing times by increasing its resources. However, this decision has been met with criticism from various quarters, with many arguing that it will deter artists from applying for these visas.

For those needing to expedite the processing of O or P visas, the USCIS offers the Premium Processing Service. This service guarantees 15 calendar day processing for a fee of $2,500. The Premium Processing Service fee is separate from the base filing fee.

While fee waivers or reductions are typically reserved for certain humanitarian or other special situations, for O and P visas specifically, there isn’t typically a fee waiver available. However, some applicants may be eligible for a fee reduction or waiver based on their specific circumstances. For example, non-profit organizations, schools, or individuals with financial hardship might be eligible for a fee waiver. Additionally, people under the age of 14 may have their fees waived.

The increased fees could pose a significant financial burden on artists, particularly independent artists or those from countries where the exchange rate makes the fees even more costly. This could make it unaffordable for many artists to work and perform in the U.S. The increased costs could potentially wipe out over a third of any potential profits a tour might make. This could lead to changes in tour planning, with artists potentially choosing to perform in fewer cities or forgoing a U.S. tour altogether.

While the USCIS has justified the increase in visa fees as a necessary measure to cover operational costs and avoid future backlogs, the move has sparked concerns among artists and industry bodies. The increased fees could potentially deter artists from applying for these visas, thereby limiting the cultural exchange and diversity that foreign artists bring to the U.S. The impact of this on the U.S. entertainment industry in the long run remains to be seen.

YSL Trial: Woman Names Young Thug as Shooter in 911 Call, Prosecution Plays Audio

The YSL Trial of Young Thug continued for the 32nd day on Tuesday (Feb. 20). The prosecution started by playing a 911 call from a woman who reported Thug as the shooter of a friend they had in common. The call was made on Sept. 11, 2013, and the woman explained in the audio below that she got this information from someone else. She also said that the friend who was shot was safe now, but she wanted to make sure Thug’s name was recorded. “They came to my house and told me that the guy who shot somebody’s name was Young Thug, whoever that’s supposed to be,” the woman said in the call.

ROC or Raised On Cleveland was a gang that was started, in part, by Young Thug, that developed into YSL. The shooting took place 11 years ago around the same time as his commercial hit "Stoner" came out.

This phone call is another setback for Thug’s defense team.

U2: Useful Idiots in Washington's War Propaganda Machine

On Saturday, February 17, 2024, the Irish rock band U2 honored the late Russian opposition leader Alexei Navalny at their concert in Las Vegas. Bono, the lead singer, addressed the crowd about the ongoing crisis in Ukraine, which was invaded by Russia two years ago. He also commended Navalny for his courage and sacrifice in resisting Putin’s tyranny. Bono then urged the audience to chant Navalny’s name, which Putin refused to acknowledge. The crowd joined him in a loud and respectful tribute. The band then performed a cover of “Don’t Dream It’s Over”, a song of hope and resilience.

Navalny, a figure lionized by some as a symbol of resistance against Russian President Vladimir Putin's regime, was far from the saintly figure portrayed by U2. While his opposition to corruption and authoritarianism garnered him international attention, Navalny's own record is tarnished by a history of xenophobic and nationalist rhetoric.

It is no secret that Navalny had ties to extremist elements within Russian society. He shamelessly participated in events like the Russian March, a gathering known for its far-right affiliations, and propagated inflammatory views regarding minority groups, particularly Muslim immigrants, whom he likened to vermin in his videos. His unrepentant stance and refusal to distance himself from his past actions only serve to underscore the troubling nature of his beliefs.

Furthermore, Navalny's dubious credentials as a champion of democracy are called into question by his expulsion from a liberal party due to his nationalist activities. His unwillingness to apologize for his earlier transgressions and his continued association with extremist factions cast a long shadow over his purported commitment to democratic ideals.

By endorsing Navalny's legacy without critically examining his divisive past, U2 perpetuates a dangerously simplistic narrative that overlooks the complexities of the situation in Ukraine. Putin's invasion of Ukraine cannot be reduced to a mere struggle between good and evil, as Navalny's supporters would have us believe. Instead, it is a multifaceted geopolitical conflict with deep historical roots and extinction level ramifications.

In light of these revelations, it becomes evident that the United States is exploiting Navalny's death as a propaganda tool to rally support for funding the proxy war against Russia. By glorifying an individual with a checkered past like Navalny, the U.S. government aims to manipulate public sentiment and justify its interventionist agenda in Ukraine. U2's participation in this charade only serves to highlight their role as useful idiots in perpetuating a narrative that aligns with Washington's interests, despite the inherent complexities and risks involved. It is imperative for the American public to recognize this manipulation and demand a more transparent and accountable approach to foreign policy, one that prioritizes diplomacy over militarism and respects the sovereignty of other nations.

Roger Waters Calls Bono an ‘Enormous S**t’ for His Pro-Israel Stance

Former Pink Floyd member Roger Waters blasted U2’s Bono for his remarks on the Israel and Hamas conflict during a concert.

Bono, 63, spoke about the violence in Gaza, which started in October, while the band was playing at the Las Vegas Sphere.

He told the audience to ‘shut up’ and then gave a passionate speech about how religion can ‘enrage us’. He said: ‘To see what the children of Abraham have been doing to each other all over the world for millennia as well as this very day… It’s bewildering to see the suffering of Palestinian children after we saw the suffering of Israeli children. He went on: ‘In the light of what’s happened in Israel and Gaza, a song about non-violence seems somewhat ridiculous, even laughable, but our prayers have always been for peace and for non-violence.

‘But our hearts and our anger, you know where that’s pointed. So sing with us… and those beautiful kids at that music festival.’

He was referring to the first major attack by Hamas on October 7, 2023, which claimed the lives of 364 civilians at the Supernova Sukkot Gathering music festival.

Bono also altered the lyrics of Pride (In The Name Of Love) and sang: ‘Early morning, Oct. 7, the sun is rising in the desert sky… Stars of David, they took your life but they could not take your pride.’

The Irish singer, who often makes political statements on stage, added: ‘When love looks laughable, I am sure that it is the devil laughing. I understand how ridiculous “love thy enemy” sounds right now.

‘We can’t live with “love thy neighbour” even in our band, in our country, but it is a divine command and not advice. In Ireland, we never quite got there. mmm Waters criticized Bono in an interview with Al Jazeera, a media outlet funded by Qatar. He said: ‘Anybody who knows Bono should go and pick him up by his ankles and shake him… until he stops being an enormous s**t.’

He continued: ‘We have to start saying to these people, your opinion is so disgusting and so degrading… sticking up for the Zionist entity. What he did a couple of weeks ago in the Sphere in Las Vegas, singing about the Stars of David, was one of the most disgusting things I’ve ever seen in my life.’

Roger has faced backlash in the past for his stance against Isreali treatment of palastinians. Israeli-backed campaigns have attacked his reputation and caused him to lose his distribution deal with BMI, be labeled as antisemitic in documentaries, and face boycotts from his shows.

Paul McCartney Reunited with Long-Lost Hofner Bass

The Beatles star was reunited with his unique 1961 electric Höfner, shaped like a violin, that disappeared 50 years ago and is now valued at 10 million pounds ($12.6 million). This was made possible by a five-year search conducted by the instrument's manufacturer, with the assistance of a journalist couple.

On Friday (Feb. 16), Scott Jones, a journalist who collaborated with Höfner executive Nick Wass to locate it, revealed that McCartney had requested Höfner's assistance in finding the lost instrument that had sparked Beatlemania worldwide. Wass recalled, “Paul said to me, ‘Hey, because you’re from Höfner, couldn’t you help find my bass?’” This request ignited the extensive search. "Seeing what the lost bass means to Paul, I was determined to solve the mystery," Wass added.

In 1961, when The Beatles were honing their skills during several residencies in Hamburg, Germany, McCartney purchased the bass for approximately 30 pounds ($37). The instrument was used on the Beatles' first two albums and was featured in hits such as “Love Me Do,” “Twist and Shout,” and “She Loves You.”

McCartney once commented, “Because I was left-handed, it looked less daft because it was symmetrical.” He added, "I got into that. And once I bought it, I fell in love with it."

It was speculated that the bass was stolen around the time The Beatles were recording their final album, Let it Be, in 1969. However, the exact time it went missing remained uncertain.

Wass's quest to locate the bass gained momentum when Jones unexpectedly joined the search after watching McCartney headline the Glastonbury Festival in 2022. At one point, the stage lights seemed to highlight nothing but the sunburst pattern on his bass, leading Jones to wonder if it was the same instrument McCartney had played in the early ‘60s.

Jones was shocked when he later discovered online that the original bass was missing and a search was underway for it. “I was staggered, I was amazed,” Jones expressed. "I think we live in a world where The Beatles could do almost anything and it would get a lot of attention."

Jones and his wife, Naomi, both journalists and researchers, reached out to Wass to disseminate the information more widely.

After reaching a dead end with a tip about a roadie for The Who, they relaunched The Lost Bass Project in September. Within 48 hours, they received 600 emails containing the “little gems that led us to where we are today,” according to Jones.

One of these emails was from sound engineer Ian Horne, who had worked with McCartney’s band Wings. This was the first major breakthrough in the search. Horne revealed that the bass had been stolen from the back of his van one night in the Notting Hill area of London in 1972.

The researchers posted this new information on their website in October, noting that Horne said McCartney told him not to worry about the theft and that he continued working for him for another six years.

“But I’ve carried the guilt all my life,” Horne confessed.

After that update was published, they received a significant lead from someone who claimed their father had stolen the bass. The man hadn't intended to steal McCartney's instrument and panicked when he realized what he had done, Jones explained.

The thief, who remained anonymous, eventually sold it to Ron Guest, the landlord of the Admiral Blake pub, in exchange for a few pounds and some beers.

As the Joneses began searching for Guest's relatives, his family had already heard the news. His daughter-in-law contacted McCartney’s studio.

Cathy Guest revealed that the old bass that had been stored in her attic for years resembled the one they were searching for.

The instrument had been passed down from Ron Guest to his eldest son, who died in a car accident, and then to a younger son, Haydn Guest, who was Cathy's husband and passed away in 2020.

The instrument was returned to McCartney in December, and it took about two months to verify its authenticity.The project intended to break the news, but Cathy Guest's son, Ruaidhri Guest, a 21-year-old film student, preempted them. He shared photos of the guitar on X, previously known as Twitter, on Tuesday and wrote: “I inherited this item which has been returned to Paul McCartney. Share the news.” On Friday, he posted another message stating that the family was overwhelmed with requests for interviews and would share their story in due course. Jones commented, “The thief couldn’t sell it,” and added, “Clearly, the Guest family never tried to sell it. It’s a red alert because the minute you come forward someone’s going to go, ‘That’s Paul McCartney’s guitar.’”

The instrument is now back in McCartney's possession. His official website posted a message announcing its return, expressing that “Paul is incredibly grateful to all those involved.”

Russell Simmons Faces Defamation Lawsuit Over Sexual Assault Allegations

Russell Simmons, the co-founder of Def Jam Records, is facing a new lawsuit. This time, it’s for defamation. The lawsuit has been filed by Drew Dixon, a former music executive who alleges that Simmons sexually assaulted her and then defamed her by labeling her a “liar” when she made the accusations public, as per court documents that Rolling Stone obtained.

Dixon, who served as an A&R executive at the label from 1993 and left shortly after the alleged assault in 1995, initiated the lawsuit in New York on Thursday. She is seeking both compensatory and punitive damages.

Dixon’s lawyers refer to a December interview in which Simmons minimized the allegations of harassment and sexual assault, stating “Yeah, [rape is] a serious word, but I think they’ve changed the meaning.” He also insinuated that his accusers might be “thirst[ing] for fame” and asserted that all his relationships were consensual.

The court papers allege that Simmons “has gone on a concerted and malicious campaign to discredit Ms. Dixon and to so damage her reputation” to the extent that her claims would not be believable. They further state that “this defamation has exacerbated the paralyzation of Ms. Dixon professionally.” (A representative for Simmons did not immediately respond to a request for comment.)

In a statement given to Rolling Stone, Dixon’s lawyers, Sigrid McCawley and Kenya Davis of Boies Schiller Flexner, said, “Ms. Dixon has taken enough abuse. Not only was she violently raped by Russell Simmons – profoundly disrupting her personal and professional life – but after she tried to move forward and heal, he then further abused her by publicly proclaiming that she lied about the rape in search of ‘fame.’ Mr. Simmons has used his public platform to re-traumatize and terrorize Ms. Dixon, and the time has now come to hold him accountable for his defamatory statements and to end this cycle of abuse.”

Dixon first disclosed her alleged encounter with Simmons to The New York Times in 2017. She claimed that she had to constantly ward off Simmons’ sexual advances while working at Def Jam. She alleges that he would often try to grope and kiss her and would expose himself to her. One night in 1995, while waiting for a car in Simmons’ apartment, Dixon alleges that he grabbed her from behind, pinned her to a bed, and sexually assaulted her. “The last thing I remember was him pinning me down to kiss me on the bed,” she told the newspaper, saying she “blacked out” and the next thing she remembered was being naked in a hot tub together. Dixon immediately informed a friend about the incident and later submitted a handwritten resignation letter, leaving her position at Def Jam.

Last December, Simmons responded to the accusations from more than 20 women who allege that the music mogul harassed or sexually assaulted them. (In addition to The New York Times article where Dixon and two other women came forward against Simmons, the 2020 documentary On The Record also featured multiple women who accused him of misconduct.)

In a conversation with journalist Graham Bensinger, Simmons confessed that he had been in “crude, compromising situations,” but insisted that he has “never been forceful in any of my relationships.”

Dixon’s attorneys underscored four statements from the interview to substantiate their claim of defamation, stating that in “their full context” Simmons has effectively accused Dixon of lying. Early in the discussion, Simmons admits that he’s slept with “thousands” of people but suggested only “six people” have come forward against him.

“I can simply tell you that I was in so many compromising situations, that people can have a recollection from 30 or 40 years ago, and it can be different from my recollection,” Simmons added. “And it could be one where there was perhaps a collaboration. If you had more foursomes than most guys at once, could someone leave and feel hurt? Could some reimagine a story out of thousands of people? Could someone want notoriety in the market where people thirst for fame, even infamous.” The lawsuit alleges that Simmons “has persisted in his efforts to discredit Ms. Dixon, referring to the ‘main accuser’ from On the Record and labeling her a liar for publicizing the account of the assault — defamation that began in December 2019 and has continued to this day.” The suit further claims that “this defamation has climbed the ranks to the apex of the leadership circle, encompassing not just Ms. [Oprah] Winfrey, but also other founding board members of Time’s Up, which includes some of our nation’s most influential women across various sectors from business to politics to entertainment.” (Winfrey had initially signed on as an executive producer of On the Record, but Simmons alleged she withdrew from the project “at his urging back” in late 2019.) This marks the second lawsuit against Simmons in the past week. A Jane Doe accuser lodged a lawsuit on Tuesday, alleging that after she joined Def Jam in the mid-1990s, Simmons “disrupted and derailed” her career following an alleged sexual assault at his New York apartment. (Simmons’ attorney refuted the allegations in a statement to Rolling Stone.)

Jane Doe’s lawsuit was filed under the provisions of New York’s Gender Motivated Violence Act, which offers a lookback window for survivors of gender-motivated violence until March 1, 2025. The music industry is currently undergoing a MeToo reckoning after both California and New York enacted laws to waive the statutes of limitations on sexual abuse allegations. Other individuals who have been sued include Sean “Diddy” Combs, Jimmy Iovine, Axl Rose, and the former CEOs of the Recording Academy, Neil Portnow and Mike Greene.