Court Denies Diddy’s Release as Prosecutors Warn of Risk

Sean “Diddy” Combs was denied bail Thursday, following his conviction on two counts related to transporting individuals for prostitution. Combs will remain in custody pending sentencing.

A federal judge has denied Sean “Diddy” Combs’s request for bail, following his conviction on two Mann Act charges for transporting individuals for the purpose of prostitution. Despite being acquitted on the more serious charges of sex trafficking and racketeering, prosecutors successfully argued — and Cassie Ventura’s attorney reiterated — that Combs remains a danger to potential victims and the community. 

Cassie Ventura’s lawyer, Douglas Wigdor, submitted a letter to Judge Arun Subramanian emphasizing her ongoing concerns: “Ms. Ventura believes that Mr. Combs is likely to pose a danger to the victims who testified in this case, including herself, as well as to the community.”

Cassie is opposing Sean "Diddy" Combs' release from federal custody.

"Ms. Ventura believes that Mr. Combs is likely to pose a danger to the victims who testified in this case, including herself, as well as to the community." pic.twitter.com/DMeDAQECnG

— Meghann Cuniff (@meghanncuniff) July 2, 2025Prosecution filings argue that Combs’s conduct during the trial — including graphic accusations, admitted violence, and drug-fueled sexual “freak offs” — justify keeping him behind bars to prevent further intimidation or harm.

Meanwhile, Combs’s legal team proposed a $1 million bond, strict travel restrictions, passport surrender, and regular drug testing 

But prosecutors stood firm, underscoring concerns about public safety and witness protection.

The next step is sentencing. Combs faces up to 20 years in prison — 10 years per conviction — though legal experts have suggested he may receive “time served” or a lighter sentence, given the split verdict.

Maxo Kream Facing Firearm Charges, Denies Fleeing Police During Traffic Stop

Maxo Kream

Maxo Kream wants you to know he wasn’t running from the law — just driving a little too fast in his Lamborghini. Texas police, however, say that moment of speed could cost him more than just a traffic ticket.

The Houston rapper, born Emekwanem Ogugua Biosah Jr., was arrested June 27 after a routine traffic stop turned into what authorities allege was an attempted escape. Police say Kream was initially pulled over in Harris County for expired license plates — reportedly out of date since May — but drove off as officers exited their vehicle.

Although no chase ensued, officers say Maxo soon pulled over and was taken into custody without further incident. Inside the vehicle, authorities say they discovered two firearms. Because of his alleged affiliation with a criminal street gang, he was charged with unlawful carrying of a weapon by a gang member — a felony — along with a misdemeanor charge for fleeing or attempting to elude a police officer.

Kream addressed the arrest via Instagram, posting a screenshot of a TMZ article and captioning it, “Damn … I wasn’t ‘ELUDING’ my Lambo just a lil fast,” adding, “But na no more jail @persona x @coughsyrupbydestodubb s—t goin on.”

His attorney, Carl A. Moore, denied any wrongdoing, telling TMZ Hip Hop, “Maxo did not flee from the police. He complied with the commands of the arresting officer. We plan to fight these accusations in court.”

Kream is scheduled to appear in court on July 7.

The arrest punctuates an otherwise quiet musical year for Kream, who released his last album, "Personification", in 2024. Recently, he’s focused on growing his clothing label, Persona, which hosted a Houston pop-up shop the weekend of his arrest. He also appeared at the city’s Screw Day celebration, paying tribute to DJ Screw — a revered figure in Houston’s hip-hop legacy.

Still, the legal situation looms large. Texas gun laws are unforgiving, and the added accusation of gang affiliation could intensify the legal challenge. While Maxo’s team maintains his innocence, police reports offer a contrasting view, setting up a legal showdown with potential career-altering consequences.

For now, Maxo Kream remains free — but the stakes are rising. His next steps, both in court and in music, could decide whether this becomes a footnote or a fork in the road.

Is Beyoncé Country Enough? Viral Critic Reignites Debate Over Genre Lines

Beyoncé rides a white horse while holding an American flag in a promotional image for her album Cowboy Carter. The project debuted at No. 1 on Billboard’s Country Albums chart, sparking debate over its genre classification. Country artist Gavin Adcock called the album “the farthest thing from country,” while supporters praised it for expanding country’s boundaries. (Photo courtesy of Parkwood Entertainment)

When Gavin Adcock — former Georgia Southern football player turned rough-edged country artist —
posted a Reel claiming Beyoncé’s "Cowboy Carter" is “the farthest thing from country,” he reignited a long-standing debate about who gets to define a genre rooted in both tradition and transformation.

The short video, now trending across Instagram and TikTok, shows Adcock shaking his head and offering a southern-fried breakdown of why he doesn’t believe "Cowboy Carter" belongs under the country umbrella.

“Lemme go ahead and clear this up — when I was a little kid, my mama raised me on real country,” Adcock says. “I’m talkin’ George Strait, Alan Jackson, Travis Tritt. I ain’t hatin’, but don’t label somethin’ country just to make it chart.”

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A post shared by Gavin Adcock (@gavinadcockmusic)

It’s a tone that’s part bemusement, part subtle gatekeeping — and it reveals more about country music’s discomfort with evolution than it does about Beyoncé.

Because here’s the question Adcock — and many like him — keep skirting: what exactly is “real country” in 2025?

Statistically, "Cowboy Carter" might be the most successful “country” album of the decade. Beyoncé’s genre-bending opus debuted at No. 1 on the Billboard 200, Top Country Albums, and Top Americana/Folk Albums simultaneously — making her the first Black woman in history to top the country chart.

According to Luminate, "Cowboy Carter "moved 407,000 equivalent album units in its first week, including 168 million on-demand streams — a figure far surpassing recent country releases by artists like Morgan Wallen or Luke Combs. These aren’t crossover numbers — they’re takeover numbers.

But success isn’t the only qualifier. The album’s DNA is country — just not the narrow kind historically confined to Music Row radio rotations. Beyoncé interpolates Dolly Parton, covers The Beatles’ “Blackbird” (written during the civil rights era), and resurrects Linda Martell, the first Black woman to play the Grand Ole Opry, giving her overdue voice and validation.

Genre boundaries have always shifted. Elvis shook up country. Ray Charles turned Modern Sounds in Country and Western Music into a landmark. Lil Nas X went viral and hit No. 1 with a cowboy hat and an 808. What Beyoncé’s doing isn’t a gimmick — it’s tradition, just one that doesn’t always look like what the Nashville establishment expects.

That discomfort is the point.

Beyoncé herself wrote in the album’s liner notes: “This ain’t a country album. This is a Beyoncé album.” And that’s the real story: she’s not asking permission — she’s asserting authority.

Artists like Adcock are entitled to their opinions. But the facts remain: "Cowboy Carter" didn’t break country music. It exposed how small the gate has been. And for many listeners — especially Black ones — that gate was never open to begin with.

Whether she’s standing onstage at the CMA Awards or headlining her own genre-defying global tours, Beyoncé’s presence in country isn’t an invasion.

It’s a reclamation.

So the question isn't whether "Cowboy Carter" is country enough.

The question is whether country music is ready to admit its roots were always bigger than its borders.

Walter Scott, Velvet-Voiced Whispers Legend, Dies at 81

The Whispers pose backstage before their performance at Gardner's Basin in Atlantic City on Saturday, Aug. 24, 2013. From left: Leaveil Degree, Wallace Scott, Walter Scott and Nicholas Caldwell. Walter Scott, co-founder of the group, died Thursday at age 81.

Walter C. Scott Jr., whose buttery vocals alongside his identical twin Wallace anchored the iconic R&B group The Whispers for more than five decades, died Thursday in Northridge, Calif., after a six-month battle with cancer. He was 81 and surrounded by family.

Desirae L. Benson, a member of the Whispers' promotional team, confirmed Scott’s death in a statement to Soul Tracks:

We all are incredibly heartbroken. It is with deep sadness that we confirm the passing of Walter Scott, beloved member of the legendary R&B group The Whispers,” Benson said. “His voice, presence, and contributions helped shape a musical legacy that touched millions. Walter’s impact on the industry and in the hearts of fans will never be forgotten. 

Formed in Los Angeles in 1963, The Whispers — originally Walter and Wallace Scott, Nicholas Caldwell, Marcus Hutson, and Gordy Harmon — became one of the most celebrated vocal groups of their era. Their string of hits spanned decades, with “And the Beat Goes On,” “Lady,” “It’s a Love Thing,” and “Rock Steady” defining R&B radio in the 1980s.

Over their career, The Whispers earned 15 top 10 R&B singles, two R&B No. 1 albums ("The Whispers" and "Love Is Where You Find It"), and widespread acclaim for their smooth choreography and timeless harmonies.

Born in Fort Worth, Texas, in 1944, Walter Scott moved with his family to Los Angeles, where he and his brother first began performing. The group relocated briefly to San Francisco in the mid-’60s to sharpen their live act. Walter was drafted into military service in Vietnam and rejoined The Whispers in 1969. The group gained momentum in the late ’70s after signing to Dick Griffey’s Solar Records, beginning a golden era of hits that kept them on the charts and touring through the 2000s.

Harmon was replaced in 1973 by Leaveil Degree following a vocal injury. Hutson died in 2000, Caldwell in 2016, and Harmon in 2023. The Whispers were inducted into the National Rhythm & Blues Hall of Fame in 2014.

Walter Scott is survived by his wife, Jan, two sons, three grandchildren, and his brother Wallace.

Watch: Living Colour Electrifies for Tiny Desk’s Black Music Month Tribute

Living Colour performs at NPR’s Tiny Desk in Washington, D.C., in a June 2025 concert celebrating the 35th anniversary of their landmark album Time’s Up. From left: Vernon Reid, Will Calhoun, Corey Glover and Doug Wimbish. (Screengrab via YouTube)

Living Colour didn’t just play behind NPR’s Tiny Desk. They detonated it.

The pioneering Black rock band delivered a searing, soul-baring performance that honored the 35th anniversary of their landmark album "Time’s Up," shook the walls of NPR’s headquarters, and reminded the world that rock, rage, and revolution still live in Black music.

Opening with their 1988 breakout “Cult of Personality” — the Grammy-winning anthem that made political theory scream — Living Colour set the tone with Corey Glover’s full-throttle vocals, Vernon Reid’s sonic sleight of hand on guitar, and a rhythm section powered by Doug Wimbish and Will Calhoun that hit like a fist through drywall.

But this wasn’t just nostalgia. It was history, fury, and deep musicianship in tight quarters.

With every song, Living Colour layered commentary on race, identity, media, and systemic distortion. “Pride” challenged American hypocrisy, “Love Rears Its Ugly Head” dissected relationship chaos and self-destruction, and “Solace of You” offered a melodic sanctuary in a world that often seeks to erase Black voice and story. Reid shouted out D.C. legends Bad Brains before launching into a blistering “Time’s Up,” turning NPR’s quiet corner into a temple of electric urgency.

“History’s a lie that they teach you in school,” Glover sang in “Pride,” over Calhoun’s tight beat. “A peaceful land that was born and civilized was robbed of its history, freedom, and pride.” It hit like gospel wrapped in punk.

The band used every inch of the stripped-down space to deliver something bigger than volume: meaning. Even with amps turned down and stage lights off, Living Colour glowed — a reminder that Tiny Desk’s size doesn’t limit the size of its message.

During their set, Glover took a moment to reflect on Black Music Month and the losses the culture has endured. “We lost Roberta Flack, we lost so many,” he said. “This song really speaks to that.”

By the end of “Solace of You,” the room didn’t just cheer — it exhaled. For Black rock fans, it was church. For everyone else, it was a lesson in what the genre has always owed to Black artists.

Watch the entire performance below.

Combs Declines to Testify as His Legal Team Concludes Case in Sex Trafficking Trial

Combs declined to testify in his own defense, telling the judge: “I’m doing great, your honor.”

More than six weeks after federal prosecutors began laying out their case against Sean "Diddy" Combs, the defense has rested. In a Manhattan courtroom that has riveted the entertainment industry, the hip-hop mogul opted not to testify in his own defense as attorneys made a final push to sway the jury.

After calling 34 witnesses, the government rested its case Tuesday morning. What followed was a Rule 29 motion for judgment of acquittal by Combs’ defense, a standard legal maneuver arguing that the prosecution failed to meet its burden. Judge Arun Subramanian has reserved ruling on the motion, meaning the case will proceed to the jury.

Defense attorney Alexandra Shapiro argued that the government did not prove the racketeering conspiracy charge or the sex trafficking counts tied to Cassie Ventura and an accuser identified as Jane. She claimed the prosecution failed to establish that Combs coerced anyone or conspired with staff to facilitate crimes. "There’s, at best, thin proof," Shapiro told the court. She added that Combs "took steps to conceal the nature of the sexual activity he was engaging in" from his own employees.

Text messages between Ventura and Combs, read into the record by the defense, painted a picture of a complicated, at times consensual relationship. In messages from 2012 to 2017, Ventura expressed affection for Combs, referenced sexually charged plans like "freak offs," and in one instance joked about getting high before participating. The defense also introduced stipulations noting that several prosecution witnesses— including Dawn Richard, Mia, and Bryana Bongolan — initially failed to report key allegations during interviews with investigators.

While prosecutors chose not to present a rebuttal case, they did argue against the Rule 29 motion. Assistant U.S. Attorney Christy Slavik said the record is more than sufficient to let the jury decide, citing evidence of travel arrangements, payments, and video footage linking Combs to the alleged crimes.

Judge Subramanian addressed Combs directly, confirming his decision not to testify. "I’m doing great, your honor," Combs said, thanking the judge for his handling of the case.

The jury will return Thursday for closing arguments after a scheduled break Wednesday. Deliberations are expected to begin Monday.

R&B Royalty Reunite: Brandy and Monica Launch Arena Tour This Fall

Promotional artwork for “The Boy Is Mine Tour” showcases Brandy and Monica’s first-ever co-headlining arena run, which kicks off Oct. 16, 2025, in Cincinnati and wraps Dec. 7 in Houston. The 24-city tour also features Kelly Rowland, Muni Long, and American Idol winner Jamal Roberts. (Courtesy Black Promoters Collective)

More than 25 years after their chart-dominating duet "The Boy Is Mine" redefined R&B for a generation, Brandy and Monica are officially hitting the road together. The Grammy Award-winning vocal powerhouses announced their highly anticipated joint tour today on CBS Mornings, igniting fan excitement from coast to coast.

Produced by the Black Promoters Collective, The Boy Is Mine Tour launches October 16 in Cincinnati, Ohio, and will hit 24 cities before wrapping up December 7 in Houston, Texas. The tour marks the duo’s first-ever co-headlining trek and celebrates one of the most iconic collaborations in Black music history.

Originally released in 1998, "The Boy Is Mine" spent a staggering 13 weeks at No. 1 on the Billboard Hot 100 — a feat that placed the pair in elite company with Whitney Houston ("I Will Always Love You," 14 weeks) and Mariah Carey ("One Sweet Day," 16 weeks). The track earned them the 1999 Grammy Award for Best R&B Performance by a Duo or Group with Vocals and has remained a cultural touchstone ever since.

Joining Brandy and Monica on the tour are Grammy-winning superstar Kelly Rowland, chart-topping songwriter Muni Long, and American Idol Season 23 winner Jamal Roberts — a multigenerational lineup that ensures each night will be steeped in both nostalgia and new energy.

The reunion comes on the heels of a surprise appearance in Ariana Grande’s "The Boy is Mine" music video in 2024, which sparked renewed excitement for the R&B legends. They later contributed vocals to Grande’s official remix of the track, earning another Grammy nomination and bringing their chemistry to a new generation of fans.

"This really is a full-circle moment," Brandy said. "Monica and I coming together again isn’t just about the music — it’s about honoring where we came from and how far we’ve both come."

Monica echoed the sentiment, calling the tour a tribute to their individual growth and lasting connection: "Brandy and I have been on our own unique journeys. Coming back together is a reminder of the power of respect, strength, and real music."

Shelby Joyner, president of the Black Promoters Collective, called the pairing "a cultural homecoming," saying: "Their impact on R&B is immeasurable, and 'The Boy Is Mine' continues to be one of the most iconic collaborations of all time."

Tickets go on sale Friday, June 27, at 10:00 a.m. local time via Ticketmaster, with presales beginning Thursday, June 26, using the code BPC.

A cinematic tour trailer directed by Ethan Tobman — known for work with Beyoncé and Taylor Swift — has already begun generating buzz, setting the tone for a production that promises style, soul, and sisterhood.

The Boy Is Mine Tour — Dates and Cities:
10/16 – Cincinnati, OH – Heritage Bank Center
10/17 – Milwaukee, WI – Fiserv Forum
10/18 – Chicago, IL – United Center
10/19 – Indianapolis, IN – Gainbridge Fieldhouse
10/30 – Memphis, TN – FedExForum
10/31 – Atlanta, GA – State Farm Arena
11/01 – Greensboro, NC – First Horizon Coliseum
11/02 – Baltimore, MD – CFG Bank Arena
11/07 – Las Vegas, NV – T-Mobile Arena
11/08 – Oakland, CA – Oakland Arena
11/09 – Los Angeles, CA – Kia Forum
11/13 – Charlotte, NC – Spectrum Center
11/14 – Columbia, SC – Colonial Life Arena
11/15 – Birmingham, AL – Legacy Arena at BJCC
11/20 – Brooklyn, NY – Barclays Center
11/21 – Newark, NJ – Prudential Center
11/22 – Atlantic City, NJ – Jim Whelan Boardwalk Hall
11/23 – Hampton, VA – Hampton Coliseum
11/28 – St. Louis, MO – Enterprise Center
11/29 – Detroit, MI – Little Caesars Arena
11/30 – Washington, DC – Capital One Arena
12/05 – New Orleans, LA – Smoothie King Center
12/06 – Fort Worth, TX – Dickies Arena
12/07 – Houston, TX – Toyota Center

Fat Joe’s Attorney Calls Rape Lawsuit ‘Fraudulent Campaign’

Eva Rinaldi, CC BY-SA 2.0, via Wikimedia Commons

Bronx rap icon Fat Joe is fighting back against what his legal team calls a "fraudulent campaign" to damage his legacy and extort him into silence — one now involving explosive accusations of sexual misconduct.

The latest salvo in a rapidly escalating legal battle dropped Thursday, when Terrance Dixon, Fat Joe's former hype man, and attorney Tyrone Blackburn filed a countersuit accusing the Grammy-nominated MC of sexual abuse, including the rape of underage girls — claims that Fat Joe and his legal team have vehemently denied.

These bombshell allegations come just weeks after Fat Joe, born Joseph Cartagena, filed a civil suit in April 2025 accusing Dixon and Blackburn of attempted extortion through threats, false claims, and media manipulation.

In a statement issued Friday, Cartagena's attorney Joe Tacopina described the new suit as a desperate retaliation. "The lawsuit filed by Tyrone Blackburn and Terrance Dixon is a blatant act of retaliation — a desperate attempt to deflect attention from the civil suit we filed first, which exposed their coordinated scheme to extort Mr. Cartagena through lies, threats, and manufactured allegations," Tacopina said.

Tacopina didn’t hold back in his assessment of Blackburn, painting him as a serial abuser of the legal system. "We didn't just sue a disgruntled former employee trying to revive a false claim from 15 years ago — we sued the lawyer behind it all. Tyrone Blackburn has a well-documented pattern of abusing the courts to harass defendants and generate media attention."

According to Tacopina, two federal judges have previously reprimanded Blackburn, including one who referred his conduct to the Southern District of New York’s disciplinary committee. Tacopina also claims law enforcement is now aware of what he calls an extortionate demand at the center of this case.

"The allegations against Mr. Cartagena are complete fabrications — lies intended to damage his reputation and force a settlement through public pressure," Tacopina said. "Mr. Cartagena will not be intimidated. We have taken legal action to expose this fraudulent campaign and hold everyone involved accountable."

Blackburn has not yet responded publicly to Tacopina’s latest statement, but in the countersuit filed Thursday, he and Dixon allege that Fat Joe failed to pay Dixon for years of work, created a toxic and abusive environment, and committed multiple acts of sexual abuse — including with minors — while Dixon worked as his hype man.

To date, no criminal charges have been filed against Cartagena, and the current legal actions remain in civil court.

Fat Joe, best known for hits like "Lean Back" and "What's Luv?", has not commented directly on the new allegations but has reportedly vowed to see the legal fight through to the end.