Chris Brown Says Ex Is Keeping Daughter From Him as She Alleges Threats and Harassment

Chris Brown performs at Jamaica National Stadium on Aug. 27, 2023. Brown is disputing harassment allegations made by Diamond Brown, the mother of his daughter Lovely, in an ongoing custody and child-support case. (Pelpa Time Production via Wikimedia Commons)

Chris Brown and the mother of his 4-year-old daughter are offering sharply different accounts of why the singer has gone months without seeing the child as their custody dispute expands to include allegations of threats, harassment and a request for at least $30,000 a month in child support.

Diamond Brown alleges in an Oct. 1 court declaration that Chris Brown threatened men she dated after their relationship ended and has harassed her both privately and on social media.

The singer denies the allegations.

He responded Monday on Instagram, accusing Diamond Brown of preventing him from seeing their daughter, Lovely Symphani Brown, while presenting what he called a “false narrative” to the court.

“I JUST WANNA SEE LOVELY!” Brown wrote in one of several posts responding to the allegations.

The dispute exposes directly conflicting accounts of the singer’s absence from his daughter’s life in recent months.

Diamond Brown alleges Chris Brown has not asked to see Lovely in six or seven months and has been uninterested in her attempts to arrange time between them, according to the declaration obtained by USA Today.

Chris Brown says the opposite.

“I HAVEN’T SEEN MY DAUGHTER IN 7 months,” he wrote Monday, accusing Diamond of not allowing him to spend time with Lovely.

Neither version has been established by the court.

Diamond Brown filed the Los Angeles case April 3, seeking legal and physical custody of Lovely while proposing visitation for Chris Brown. Her filing said the singer had previously acknowledged paternity through a voluntary declaration.

Chris Brown responded by asking for joint legal and physical custody.

Lovely was born Jan. 7, 2022.

Instagram Story screenshot

A CLOSER LOOK: In this screenshot from Instagram Stories, Chris Brown responds Monday to allegations made by Diamond Brown in an ongoing custody and child-support dispute involving their daughter, Lovely. (Chris Brown/Instagram Stories via screenshot)

The case has since widened beyond custody.

In her new declaration, Diamond Brown alleges the singer became angry when she began dating other men after their relationship ended about two years ago.

She alleges he made death threats against her most recent boyfriend and threatened the man’s twin brother. She also alleges third parties made threats and that similar conduct by Brown contributed to the end of an earlier relationship.

No court has ruled that those allegations occurred.

Diamond Brown also describes Brown’s behavior toward her as frightening and alleges he recently became angry with her in front of Lovely at a birthday party.

She says her attorney has asked Brown’s attorney since March to have him stop the alleged conduct.

According to TMZ, an email attributed to Brown’s attorney denied the allegations and asked Diamond Brown’s legal team for specific incidents that could be addressed.

Diamond Brown says in the declaration that she has tried to avoid seeking a domestic violence restraining order.

She is not requesting one in the current filing.

“I feel that I have been living under siege,” she wrote, according to USA Today.

Money has become another major point of contention.

Diamond Brown says Chris Brown agreed to pay $7,000 a month but alleges he sometimes deducts money from that amount. She is now asking the court for at least $30,000 a month in child support, along with full payment of certain additional expenses for Lovely, including medical costs, insurance, school tuition and extracurricular activities.

She is also seeking $350,000 in attorney and accounting fees.

Diamond Brown reports earning about $1,500 a month as a social media influencer and esthetician and contends that Chris Brown has not turned over financial records she says are necessary to determine support.

She estimates his net worth at more than $50 million but acknowledges in the filing that his actual income remains unknown, according to USA Today.

A separate income-and-expense declaration reported by TMZ lists Diamond Brown’s current monthly expenses at about $8,400 and proposed expenses exceeding $45,000.

That figure is not her requested monthly child-support payment.

Chris Brown disputes her characterization of what he provides.

He said Monday that he pays for two vehicles, her housing and Lovely’s schooling and medical expenses in addition to $10,000 a month.

“There is no 50/50 co parenting,” Brown wrote. “I LITERALLY PAY FOR EVERYTHING.”

The singer said those payments are documented and accused Diamond Brown of trying to provoke him into giving her material to use in court.

Diamond Brown, meanwhile, argues that the support being provided is insufficient for their daughter and alleges Brown has delayed efforts to obtain financial information in the case.

Bill Withers Publisher Sues Music Giants Over Olivia Dean’s ‘I’ve Seen It’

Bill Withers, left, is shown in a 1976 Columbia Records publicity photograph. Olivia Dean performs at BST Hyde Park in London on July 6, 2025. Mattie Music Group, doing business as Bleunig Music, alleges Dean’s “I’ve Seen It” copies protectable elements of the melody of “Just the Two of Us,” which Withers co-wrote with Ralph MacDonald and William Salter. Dean is not a defendant in the lawsuit. (Columbia Records/Public domain; Raph_PH/Wikimedia Commons, CC BY 4.0; composite image modified from originals)
A music publishing company founded by Bill Withers has gone to federal court over one of his best-known songs, alleging that a track by Grammy-winning singer Olivia Dean repeatedly copies the melody of “Just the Two of Us.”

Mattie Music Group, doing business as Bleunig Music, filed a copyright infringement lawsuit Thursday in Los Angeles against Capitol Records, Universal Music Group, Sony Publishing (US) LLC and Kobalt Music Publishing America.

Dean is not a defendant.

Neither is either of her co-writers, Bastian Langebæk and Max Wolfgang.

Instead, the lawsuit targets companies involved in the recording, publishing and commercial exploitation of “I’ve Seen It,” the closing track on Dean’s 2025 album, “The Art of Loving.”

Mattie alleges the song copies “Just the Two of Us” in large and significant part, including repeated use of what the complaint describes as its protectable melody.

According to the filing, representatives of the publisher listened to Dean’s song several times in early August and reached what they called an “obvious and inescapable” conclusion that it copied the earlier composition.

The company then hired musicologist Alexander Stewart, Ph.D., to compare the songs.

Mattie says Stewart conducted a preliminary musicological analysis, searched for similar earlier material and found substantial similarities in protectable musical expression.

What the seven-page complaint does not include is Stewart’s analysis.

There is no musical notation comparing the songs, no measure-by-measure breakdown, no timestamps identifying the disputed passages and no copy of his report.Mattie says it sent written notice to all four defendants on or about Aug. 17, identifying the copyright registration, Dean’s song and the musical similarities it believed infringed its rights.

LISTEN: Olivia Dean — “I've Seen It”

LISTEN: Grover Washington Jr. featuring Bill Withers — “Just the Two of Us”

The lawsuit alleges the companies continued reproducing, distributing, licensing, performing and commercially exploiting “I’ve Seen It” afterward.

No court has determined that the song infringes “Just the Two of Us.”

Billboard reported that representatives for UMG, Sony and Dean did not immediately respond to requests for comment. A Kobalt representative declined to comment.

The history of the song at the center of the case makes the dispute more complicated than the shorthand description of “Just the Two of Us” as a Bill Withers classic might suggest.

The recording originated with jazz saxophonist Grover Washington Jr. and appeared on his 1980 album, “Winelight,” with Withers singing lead.

Withers shares the songwriting credit with Ralph MacDonald and William Salter.

Released as a single in 1981, “Just the Two of Us” reached No. 2 on the Billboard Hot 100. MacDonald, Salter and Withers won the 1982 Grammy Award for best rhythm and blues song.

Withers was also unusually candid about how he entered the collaboration.

“I came in after the foundation was already there,” he told American Songwriter.

Withers recalled that MacDonald and Salter already had a demo when they approached him about singing it. He said he wanted to improve the words, memorably describing the existing lyrics as wearing overalls and his revisions as an attempt to put them in a tuxedo.

“I wasn’t the genesis” of the song, Withers said.

That history does not by itself determine Bleunig’s rights in the composition.

It is nevertheless particularly interesting here because Mattie’s lawsuit focuses not on Withers’ lyrics but on alleged copying of the song’s melody.

The complaint says Withers was under contract with Bleunig when he co-wrote “Just the Two of Us” and describes Mattie as a copyright proprietor of the composition.

Bleunig is one of three publishers credited on the song, along with Antisia Music and BMG Ruby Songs. Neither of those companies joined the lawsuit.

Bleunig is not a company that bought its way into the Withers catalog decades later.

Withers founded Golden Withers Music in 1974 after deciding he wanted greater control over his songwriting rights, according to Mattie Music Group’s company history. He established Bleunig in 1978 as he expanded his publishing interests and formed Mattie Music Group in 1997 as an umbrella for those businesses.

He named Mattie Music Group after his mother.

The company identifies Bleunig as a co-publisher of “Just the Two of Us.”

Dean arrives at the dispute from the other end of the song’s 45-year history.

“I’ve Seen It” was written by Dean, Langebæk and Wolfgang. Langebæk, Wolfgang and Zach Nahome are credited as producers.

Dean’s career has surged since “The Art of Loving” arrived in September 2025. She won the Grammy Award for best new artist in February.

Now a song from that album is at the center of a copyright case involving a composition that won its own songwriting Grammy more than four decades earlier.

Mattie is seeking an injunction, its alleged losses, profits attributable to the alleged infringement, interest, costs and attorneys’ fees.

The complaint also asks the court to allow the seizure, impoundment or destruction of copies found to infringe its rights.

It does not demand a specific dollar amount.

For now, Mattie has put its allegation before a federal judge: that a melody heard around the world for 45 years can be heard again in “I’ve Seen It.”

What it has not yet put in the public record is the musical analysis it says shows why.

Rick Ross Pleads Not Guilty After Miami Beach Arrest on Domestic Violence Charges

Rick Ross is shown in a booking photograph following his arrest by Miami Beach police. The rapper faces one felony count of battery by strangulation and one misdemeanor battery count in a domestic violence case. Ross pleaded not guilty Thursday. (Miami-Dade County Corrections and Rehabilitation)

Rick Ross was arrested in Miami Beach early Thursday on felony and misdemeanor battery charges after a woman told police he repeatedly struck her during an Aug. 28 confrontation that she said began over an Instagram photo.

Ross, 50, whose legal name is William Leonard Roberts, was booked into the Turner Guilford Knight Correctional Center at 6:10 a.m., according to Miami-Dade jail and court records.

He faces one felony count of battery by strangulation and one misdemeanor count of battery. Court records list both charges as involving domestic violence.

Ross pleaded not guilty through an attorney during his first court appearance Thursday.

The hearing also produced an unexpected exchange after Ross' attorney asked whether his release could be expedited because of his celebrity status and said the rapper had been placed in a red jumpsuit for his safety.

Miami-Dade Circuit Judge Mindy S. Glazer was unmoved.

“I have no idea who you are,” Glazer told Ross before saying he would be treated fairly like everyone else appearing before the court.

The charges stem from an alleged Aug. 28 incident.

According to an arrest report reviewed by WSVN, the woman told police Ross became angry over an Instagram photograph in which she had been tagged.

She alleged Ross slapped her in the face as he questioned her about the photograph and later struck her several times in the chest, leaving her unable to breathe.

The woman also told investigators Ross grabbed her by the ponytail and slammed her head to the ground, according to the report.

Attorney Steve Sadow said Ross is being wrongfully accused by an ex-girlfriend and noted that the alleged incident was not reported to police until about a month later.

Ross has denied the allegations through his attorneys.

Under Florida law, battery by strangulation involves knowingly and intentionally impeding another person's normal breathing or blood circulation by applying pressure to the throat or neck or blocking the nose or mouth in a manner that creates a risk of or causes great bodily harm. The offense is a third-degree felony.

Ross' arrest came days after his former girlfriend, Jazzma Kendrick, separately accused him of physical abuse in posts on Instagram Stories.

Kendrick shared an image of an injured lip that she attributed to Ross and said she had left the relationship after the alleged incident.

Authorities have not publicly identified the woman in the criminal case by name, however, and early court reporting did not establish that Kendrick's public allegations were the basis for Thursday's charges.

Ross emerged as one of Miami's biggest rap stars with his 2006 breakout single “Hustlin'” and later founded Maybach Music Group, whose roster has included prominent hip-hop artist Meek Mill and Wale, among others.

His arraignment is scheduled for Oct. 22.

1990s Rap Group Home Team Files Copyright Suit Against Jermaine Dupri and Jacquees

Jermaine Dupri and Jacquees are at the center of a federal copyright lawsuit brought by brothers Patrick and Van Watler of the ’90s Miami rap duo Home Team, who allege the artists’ 2023 “Pick It Up” infringes their 1992 composition of the same name. 

More than three decades after Miami rap duo Home Team told listeners to “Pick It Up,” the group says
Jermaine Dupri and Jacquees picked up too much.

Brothers Patrick and Van Watler have sued Dupri, Jacquees and Mass Appeal Media Inc. in federal court, alleging the 2023 Jermaine Dupri single “Pick It Up,” featuring Jacquees, infringes their 1992 song of the same name.

The lawsuit, filed Sept. 21 in the U.S. District Court for the Southern District of Florida, alleges the newer recording copies protected lyrics and musical elements from Home Team’s song without permission.

Neither the allegations nor the songs’ shared title establishes copyright infringement, and the court has not ruled on the Watlers’ claims. The defendants had not filed a substantive response to the complaint as of Tuesday.

The dispute reaches back to Miami’s early-1990s rap scene.

Home Team released its “Pick It Up” through Luke Records, the label founded by Luther “Uncle Luke” Campbell and closely associated with the rise of Miami bass. Campbell was credited as an executive producer on the duo’s 1992 album, “Via Satellite From Saturn.”

HEAR THE ORIGINAL

Home Team — “Pick It Up” (1992)

The Luke Records single at the center of Patrick and Van Watler’s copyright lawsuit was released more than three decades before Jermaine Dupri and Jacquees’ recording of the same name.

WATCH ON APPLE MUSIC

The song reached Billboard’s Hot 100 in December 1992, peaking at No. 90. It also appeared on Billboard’s R&B and rap charts.

Federal copyright records identify Patrick and Van Watler as the writers of the composition’s words and music. The work, registration No. PA0000858142, is listed as having been created in 1992, published Aug. 4 of that year and registered in 1997. Lil’ Joe Wein Music Inc. is identified as the copyright claimant in the registration record.

The lawsuit gives a slightly different date, saying Home Team released the song on or around July 3, 1992.

Thirty-one years later, Dupri released another “Pick It Up,” featuring Jacquees.

WATCH

Jermaine Dupri feat. Jacquees — “Pick It Up” (2023)

Jermaine Dupri featuring Jacquees, “Pick It Up.” Official video via Jermaine Dupri/Mass Appeal.

The 2023 recording was produced by Dupri and Bryan-Michael Cox and released through Mass Appeal. Its official video features Dupri and Jacquees moving through Atlanta locations while Jacquees handles the record’s sung vocals.

The Watlers contend the similarities go beyond the title.

Their complaint alleges the newer “Pick It Up” reproduces protectable elements of Home Team’s lyrics and melody or harmony. It says the defendants did not seek or receive a license, permission or clearance to use the earlier composition.

The lawsuit, however, does not identify in its 12 pages the particular lyric, melodic phrase or harmonic passage the brothers contend was copied.

Instead, the Watlers allege that the two works are substantially similar and say the defendants have profited from the newer recording.

The complaint alleges, on information and belief, that the defendants have earned hundreds of thousands of dollars from sales, streaming, licensing and other exploitation of the 2023 song. It does not provide royalty statements or other financial records supporting that figure.

The brothers are asking for considerably more than a single damages award.

Their complaint seeks an accounting of revenue connected to the newer song, songwriter credit and publishing percentages, as well as damages, attorneys’ fees and an injunction.

The prayer for relief asks for more than $150,000 in what the lawsuit describes as general damages and more than $150,000 in special damages. It also requests statutory damages under federal copyright law and additional relief against Mass Appeal.

The Watlers further want Dupri, Jacquees and the other defendants to recognize them as writers of the allegedly infringing material and to direct third parties under their control to update the song’s credits accordingly.

They have requested a jury trial.

The case is Watler et al. v. Mauldin et al., No. 1:26-cv-26546, in the U.S. District Court for the Southern District of Florida.

Summonses were issued Sept. 22 for Dupri, whose legal name is Jermaine Dupri Mauldin; Jacquees, whose legal name is Rodriguez Jacquees Broadnax; and Mass Appeal Media.

Stevie Wonder Unearths Four Unheard Songs From ‘Songs in the Key of Life’ Sessions

Stevie Wonder performs at the White House in Washington on Feb. 25, 2009. Wonder marked the 50th anniversary of his landmark 1976 album, “Songs in the Key of Life,” on Monday by releasing four previously unheard recordings from the album’s original sessions. (Pete Souza/Official White House Photo)

Fifty years after Stevie Wonder finished "Songs in the Key of Life," he has gone back into the vault to show there was even more music in the key.

Wonder marked the landmark album's 50th anniversary today by releasing four previously unheard recordings from its original sessions, offering a new glimpse into one of the most celebrated creative periods in popular music.

"It's Easier," "My Life Story of Love," "I Can See the Sun In Late December" and "I'm Into Livin'" make up the new four-song "Songs in the Key of Life" EP.

All four were recorded during the sessions for the sprawling double album, which was released Sept. 28, 1976.

"We've lived with 'Songs in the Key of Life' for fifty years, but there's still more to hear," Wonder said in a statement announcing the release. "We didn't add these songs to the album, but they were part of what I was feeling and discovering as we made it."

Wonder, 76, personally selected the recordings for the anniversary release. John Fischbach and Gary O Adante, two of the engineers who worked on the original album, returned to mix the previously unreleased material. Adante was credited as Gary Olazabal on the 1976 LP.

The new songs also bring back musicians whose careers became intertwined with Wonder's extraordinary run in the 1970s.

Greg Phillinganes, Michael Sembello, Ben Bridges, Jim Horn, Raymond Pounds and longtime Wonder bassist Nathan Watts are among the musicians heard on the recordings.

"I'm Into Livin'" features background vocals from Thelma Houston, Deniece Williams and Shirley Brewer. Houston was months away from taking "Don't Leave Me This Way" to No. 1, while Williams was nearing the beginning of a solo career that would produce hits including "Free" and "Let's Hear It for the Boy."

Former Supremes member Susaye Greene co-wrote "My Life Story of Love" with Wonder. Greene and Wonder later co-wrote "I Can't Help It," recorded by Michael Jackson for his 1979 album "Off the Wall."

There is even a piece of studio lore connecting the new release to the marathon sessions that produced the original album.

According to Wonder's team, the final session ended at 4:54 a.m., prompting Watts to exclaim, "Fo'FiftyFo'!" The phrase became an inside joke used around Wonder's circle to mark the end of a session.

The four recordings arriving 50 years later make that ending a little less final.

"Songs in the Key of Life" was already unusually expansive when Wonder finally released it. The original package contained two LPs and a four-song bonus EP, "A Something's Extra," after roughly two years of recording.

It entered Billboard's album chart at No. 1, making Wonder the first American artist to debut an album in the top spot, and remained No. 1 for 14 weeks.

The album produced two No. 1 singles, "I Wish" and "Sir Duke," while songs including "Isn't She Lovely," "As," "Pastime Paradise" and "Love's in Need of Love Today" became enduring pieces of Wonder's catalog.

It also completed one of the most remarkable Grammy runs in music history.

"Songs in the Key of Life" won album of the year in 1977, giving Wonder his third victory in the category in four years following "Innervisions" and "Fulfillingness' First Finale." The Recording Academy inducted the album into the Grammy Hall of Fame in 2002, and the Library of Congress added it to the National Recording Registry in 2005.

Wonder isn't limiting the 50th anniversary to the vault.

He will take "Songs in the Key of Life" back on the road beginning Oct. 13 in Birmingham, England, performing the album in its entirety on an 18-date tour through Europe and the United States.

The U.S. leg begins Nov. 19 at Madison Square Garden in New York and includes stops in Chicago and Washington before a two-night homecoming in Detroit on Dec. 8-9. The tour is scheduled to close Dec. 19 at the Intuit Dome in Los Angeles.

Stevie Wonder • 18 Dates

“Songs in the Key of Life Performances — 50th Anniversary Tour”

Europe & United States • Fall 2026

Oct. 13

Birmingham, England
Utilita Arena

Oct. 15

Paris
Accor Arena

Oct. 18

Copenhagen, Denmark
Royal Arena

Oct. 20

Oslo, Norway
Unity Arena

Oct. 22

Stockholm
3Arena

Oct. 24

Hannover, Germany
ZAG Arena

Oct. 26

Cologne, Germany
LANXESS Arena

Oct. 28

Amsterdam
Ziggo Dome

Nov. 1

Dublin
3Arena

Nov. 3

London
The O2

Nov. 8

Manchester, England
Co-op Live

Nov. 11

Glasgow, Scotland
OVO Hydro

U.S. Dates

Nov. 19

New York
Madison Square Garden

Nov. 21

Chicago
United Center

Nov. 23

Washington, D.C.
Capital One Arena

Dec. 8

Detroit
Fox Theatre

Dec. 9

Detroit
Fox Theatre

Dec. 19

Inglewood, Calif.
Intuit Dome

1. Jay-Z Rape Accuser Recants in Federal Court, Says She Never Met Him

Jay-Z speaks during an interview with GQ released March 23, 2026. The rapper, whose legal name is Shawn Carter, discussed the sexual-assault allegation against him during the interview and maintained it was false. The woman who made the allegation said in a federal court declaration filed Thursday that she had never met Carter and that her claims against him were false. (Screengrab/GQ)

The woman who accused Jay-Z of sexually assaulting her when she was 13 now says she never met him and that her allegations were false.

In a 12-page declaration filed Thursday in federal court in Manhattan, the woman, identified as Jane Doe, said Shawn Carter, Jay-Z’s legal name, never raped or sexually assaulted her and never engaged in inappropriate conduct toward her.

“There is no truth to any of my claims against Mr. Carter,” she said in the declaration, filed under penalty of perjury.

Doe also said she received no money or promise of compensation for making the declaration.

Carter has since dismissed her as a defendant in his ongoing federal lawsuit against attorney Tony Buzbee and other lawyers involved in bringing the original case.

Doe’s current attorney, James Blair Newman Jr., said she continues to maintain that she was sexually assaulted but now acknowledges that she was wrong when she identified Carter. Newman said she apologizes to Carter and his family.

The reversal goes considerably further than Doe had before.

Her original lawsuit, filed in October 2024, accused Sean “Diddy” Combs of sexually assaulting her after the 2000 MTV Video Music Awards. It initially referred to another alleged attacker only as a male celebrity.

An amended complaint filed that December named Carter.

Both men denied the allegations.

Questions about Doe’s account surfaced almost immediately. In a December 2024 interview with NBC News, she acknowledged making mistakes in her recollection while continuing to stand by the allegation.

Among the discrepancies, Doe said she encountered Good Charlotte’s Benji Madden at the party, although a representative said Madden and his brother were touring in the Midwest that night. She also said her father drove several hours to pick her up afterward. He told NBC he did not remember doing so.

Doe voluntarily dismissed the lawsuit with prejudice in February 2025, preventing the same claims from being refiled.

Carter then took the fight to Doe and the lawyers who represented her.

His federal lawsuit accuses Buzbee and others of pursuing an allegation they knew or should have known was unreliable. A central part of Carter’s case is his contention that the attorneys failed to properly investigate Doe before attaching his name to an accusation of child sexual assault.

Carter’s complaint points to information he says was available before his name was added to the case, including Doe’s recent involvement in Mental Health Court and public testimony from her psychiatrist concerning multiple mental-health conditions, prescription medication and a history of hallucinations.

Those details are allegations cited by Carter as part of his argument that Doe’s lawyers had reason to investigate her account more closely. Mental-health treatment itself does not establish that someone is dishonest or that an allegation is false.

Doe’s mental health later entered the court record from her side as well. In seeking permission to continue using a pseudonym, she submitted a declaration from a psychiatrist who said publicly identifying her could destabilize her recovery and worsen her psychiatric symptoms.

Carter spoke publicly about the toll of the accusation during a GQ interview released March 23.

He said the case left him heartbroken and with “uncontrollable anger,” adding that an allegation that serious was something a person “better be super sure” about. Carter maintained in the interview that the accusation was false.

Buzbee has denied wrongdoing and disputed Doe’s latest account of how her original case was handled. He has said several lawyers interviewed her before he personally met her and that she gave them essentially the same story.

A California appeals court sided with Buzbee on a separate Carter lawsuit earlier this month.

In an unpublished Sept. 9 opinion, the three-judge panel upheld dismissal of Carter’s California case and said the evidence before it did not show that Buzbee accused Carter while knowing the allegation was false or with reckless disregard for whether it was true. The court pointed to declarations describing legal teams that interviewed Doe and said they believed her claims.

That decision came before Thursday’s declaration and involved different claims and legal standards.

The new declaration also differs sharply from an earlier, secretly recorded conversation in which investigators approached Doe at her Alabama home and said she appeared to clear Carter. Doe later said she felt intimidated during that encounter and reaffirmed her original allegation.

C.L. Smooth Sues Longtime Associate Over Alleged $132,000 Royalty Diversion

Cover art for Pete Rock & C.L. Smooth’s 1992 single “They Reminisce Over You (T.R.O.Y.).” C.L. Smooth, whose legal name is Corey Penn, alleges in a new federal lawsuit that about $132,000 in SoundExchange royalties was diverted without his knowledge. (Elektra Records/Handout)

C.L. Smooth says he discovered this spring that someone else had been collecting digital royalties in his name for years.

Now the rapper is asking a federal court to make them give the money back.

Smooth, whose legal name is Corey Penn, filed a lawsuit Sept. 13 accusing a longtime associate, the associate’s wife and two companies of diverting approximately $132,000 in SoundExchange royalty payments that Penn says belonged to him.

The lawsuit, filed in U.S. District Court for the Southern District of New York in White Plains, names Nickolas Taylor, Nichelle Taylor, St. Nick Entertainment Inc. and Prosper Software Solutions Inc., doing business as Taylor Your Care.

Penn has demanded a jury trial.

The federal docket also shows that he filed copies of checks and a 1099 as an exhibit to the complaint.

According to Westfair Business Journal, which reviewed the complaint, Penn says his relationship with Nickolas Taylor stretches back to 1989, when the two were part of the same New York music and social circles.

Taylor began helping Penn book performances around 2001, according to the lawsuit.

There was no written management agreement.

Instead, Penn alleges, the arrangement operated on their longstanding personal relationship and trust. He says he provided Taylor with sensitive information, including passport details needed for international performances.

The relationship eventually deteriorated amid disputes over money and business matters involving St. Nick Entertainment and some of Penn’s independent music projects.

Penn says he stopped doing business with Taylor around 2007.

Around that period, according to the complaint, a SoundExchange account existed in Penn’s name while royalty payments belonging to him were being sent to addresses associated with the Taylors.

Penn says he did not learn that the account already existed until March, when he attempted to establish his own SoundExchange account.

According to the complaint, a subsequent SoundExchange investigation identified approximately $132,000 in royalty payments dating as far back as early 2006.

Penn alleges royalty checks and federal tax forms were sent to the Taylors’ home in Elmsford and other addresses associated with them in Pleasantville and Yonkers.

He further alleges that checks made payable to him were endorsed by Nichelle Taylor before being deposited by the Taylors.

Those allegations have not been proven in court.

SoundExchange occupies a specific part of the music royalty system.

It collects statutory digital performance royalties for sound recordings played through noninteractive services such as SiriusXM, Pandora and internet radio and distributes that money to featured artists and sound-recording rights owners.

Those are different from the songwriting and publishing royalties generated by the underlying composition.

Penn says he has since regained control of the SoundExchange account and received about $30,000 in accumulated royalties covering 2023 through 2026.

He accuses the defendants of fraud, conversion, breach of fiduciary duty, aiding and abetting breach of fiduciary duty and unjust enrichment.

Penn is seeking the return of money he alleges was wrongfully obtained as well as unspecified punitive damages.

That does not mean he is simply “suing for $132,000.”

In fact, the federal docket contains an unusual correction that could otherwise create confusion about how much money is at stake.

When the case was opened, the court’s statistical information listed a $132 million demand. The clerk corrected that entry the following day, stating that the figure had been entered erroneously and changing the dollar demand to none.

The roughly $132,000 figure instead represents the amount Penn alleges SoundExchange identified as having been diverted.

No response from the defendants was available in the publicly accessible docket reviewed for this story. That docket was last retrieved Sept. 14 and notes that a more recent listing may be available through PACER.

Westfair reported that efforts to locate the Taylors for comment were unsuccessful.

The dispute reaches into a catalog that has been part of hip-hop for more than three decades.

Penn rose to prominence alongside producer Pete Rock as Pete Rock & C.L. Smooth. The duo released “All Souled Out” in 1991, followed by the albums “Mecca and the Soul Brother” in 1992 and “The Main Ingredient” in 1994.

“Mecca and the Soul Brother” included “They Reminisce Over You (T.R.O.Y.),” the duo’s enduring tribute to Troy “Trouble T Roy” Dixon of Heavy D & The Boyz.

C.L. Smooth’s official biography still describes “T.R.O.Y.” as the record most closely associated with his career more than three decades later.

The music has kept playing.

Penn’s lawsuit now asks who was getting paid when it did.

Memphis Honors Tay Keith With Music Lab, Key to City and Day of His Own

Grammy-nominated producer Tay Keith is shown in an undated promotional portrait. Memphis Public Libraries dedicated the Tay Keith Music Lab on Monday, creating a music production space for young people in honor of the late Memphis hitmaker, whose credits included Travis Scott’s “Sicko Mode,” Drake’s “Nonstop” and Beyoncé’s “Before I Let Go.”

Before Tay Keith was producing No. 1 records with some of hip-hop's biggest stars, his sister remembers the work beginning in a little blue, yellow and white house on Bruton Street in Memphis.

On Monday, his hometown put his name on a room where somebody else's career might begin.

Memphis Public Libraries formally dedicated its music production room inside Cloud901 at the Benjamin L. Hooks Central Library as the Tay Keith Music Lab, honoring the late Grammy-nominated producer while expanding an initiative aimed at giving young people access to music-production tools and instruction.

Keith's older sister, Lisa Austin, told those gathered for the dedication that the family's Raleigh home was where her brother discovered his love of music, started making beats and built the foundation for what the world would eventually know as Tay Keith.

But Austin made clear that the family did not want the room to function simply as a memorial.

“This lab is more than just putting Tay's name on a room,” Austin said. “It's about access and opportunity.”

Cloud901 is Memphis Public Libraries' free technology and production center for teenagers ages 13 to 18. The Tay Keith Legacy Foundation donated to the project, which is being developed into a broader initiative around Keith's life, career and commitment to young people.

Plans include hands-on beat-making and music-production instruction, a permanent archival collection and oral histories with Keith's relatives, friends and associates.

Library officials said they hope to collect photographs, handwritten notes, studio material, correspondence, memorabilia and other pieces of Keith's history. Family members and others who knew him will also be invited to record their memories through the library's 901Voices oral-history project.

At Monday's ceremony, library officials said the collection is intended to preserve not only Keith's career but the stories behind it for people who may encounter his work generations from now.

The project also extends work Keith had begun before his death.

Memphis Mayor Paul Young said Keith and his team contacted him shortly after Young became mayor because the producer wanted to discuss how he could make deeper investments in Memphis.

One conversation turned into a standing habit.

Keith told Young he planned to call him every Monday.

Tay Keith's family and Memphis officials dedicate the Tay Keith Music Lab at the Benjamin L. Hooks Central Library on Sept. 21, 2026.

“And he called me literally every Monday,” Young said.

Young said that even after becoming a successful producer, Keith was routinely checking in with the mayor because he wanted to figure out how to make a larger impact on the city that raised him.

Keith also worked with the city's Office of Youth Services on the My Memphis Poetry Challenge, which encouraged young Memphians to use writing to express their creativity and connection to the city. Young cited the project Monday as another example of Keith's interest in creating opportunities for young people. The competition itself was also documented by the Memphis City Council and local reporting.

Memphis added two other honors around what would have been Keith's 30th birthday.

Young proclaimed Sept. 20 Tay Keith Day in Memphis and presented Keith's family with a key to the city during Monday's dedication.

The mayor said young Memphians entering the lab will be able to see Keith's name, use the equipment and recognize that someone from their city reached the highest levels of the music business.

“Somebody from Memphis did it, and they can too,” Young said.

Keith, born Brytavious Lakeith Chambers, developed from a young Memphis producer into one of the most successful hitmakers of his generation. His credits include Travis Scott's “Sicko Mode,” Drake's “Nonstop” and “First Person Shooter,” along with work for artists including Beyoncé, Eminem, Cardi B, 21 Savage and Sexyy Red. BMI honored him three times as its R&B/Hip-Hop Producer of the Year.

He died June 18 at his Nashville apartment at 29.

Days before the Memphis ceremony, the Nashville medical examiner disclosed that Keith's death had been ruled accidental. The cause was toxicity involving ketamine and several mitragynine-related compounds associated with kratom. Police had said no foul play was suspected.

Monday's dedication, however, was centered less on how Keith died than on what his family and hometown want to continue in his name.

Austin said the hope is that a young person walks into the Tay Keith Music Lab, creates a first beat and eventually becomes the next major producer or creative to come out of Memphis.

Then she distilled the purpose of the room into two sentences.

“Tay's legacy lives on,” Austin said. “And now he gets to help build someone else's.”