SYDNEY, Australia — A nervous music community was put at ease Wednesday, July 15 when prime minister Anthony Albanese removed any doubt that creatives would maintain control, and the value, for their work in the age of artificial intelligence.
During an address on AI at the University of Sydney, the nation’s leader gave the strongest of assurances that tech companies would not have the right to copyright-protected content, including music, to train AI “without the artist’s control.”
“Australian writers, musicians, artists and journalists must retain ownership and control of their work,” he remarked. “Our laws will spell that out plain as day. An artist’s creative endeavor is their work and their property.”
No company “should use Australian books, music, art or news to build or train AI without the artist’s control, and that includes the artist’s control of the price and value of their work,” he said.
Australia, Albanese suggests, has the opportunity to take the lead on this hot button topic.
“Nowhere do artists or rights holders have sufficient control of their work when it comes to AI training,” he added. “And that is why the best way to secure the strongest copyright protections for Australian artists is for Australia to be active and involved.”
Also during his speech, titled “AI in Australia’s interests,” the PM unveiled a new Office of AI which, with effect from today, would design the new Australian standards — essentially a functioning licensing framework built on consent and payment.
With those words, the domestic music industry, which has lobbied tirelessly on the protection of copyrights, breathed a collective sigh of relief.
“The prime minister could not have been clearer: Australian writers and musicians keep ownership and control of their work. Artists control what that work is worth, not the government and not a technology company,” remarks ARIA CEO Annabelle Herd.
“Control of price, value and terms of use are what underpin a commercial licensing market,” Herd adds. “The artist decides what their work is worth and who may use it. That is how licensing works everywhere else in the world and it is how it should work here. In the prime minister’s words: anything less is theft.”
The message to AI businesses “is clear,” she continued. “Now is the time to get on with licensing. Right now deals are being signed across music, journalism and publishing around the world. Australia’s creative industries are ready do business.”
Rights organization APRA AMCOS echoed those comments, and applauded Albanese for his “clear and unequivocal support for Australia’s artists, creators and copyright holders.”
“The prime minister has made it clear,” says APRA AMCOS CEO Dean Ormston. “The future of AI development in Australia must respect creator rights, that permission and payment must be sought, and crucially, the creative economy must benefit from AI innovation and development in Australia.”
APRA AMCOS has put a price on what a copyright carve-out would mean to the music space. The PRO’s landmark AI and Music Report found that, without a mandatory licensing framework, Australian and New Zealand songwriters and composers face a 23 per cent hit to their revenues. The bottom line: Australian and New Zealand creators would miss out on more than A$500 million ($350 million) over just four years.
Albanese’s comments on AI and copyright follow the Attorney General’s confirmation late last year that there would no copyright exception for AI training. Then, in December, the publication of the Productivity Commission’s final report on Harnessing data and digital technology, which concluded that it would be “premature to make changes to Australia’s copyright laws.”
Now, more than half a year on, the prime minister has given his word on the matter.
Damian Rinaldi, CEO of AMPAL, the music publishers’ association, welcomes the PM’s “unequivocal recognition that ‘an artist’s creative endeavor is their work and property’, and that Australian creators and rightsholders must retain ownership and control of their work, including its price and value.” And his declaration that “anything less is theft” sends a “powerful and unambiguous message,” Rinaldi continues. “Permission must come first.”
Maggie Collins, executive director of the Association of Artist Managers (AAM) was among the many industry leaders who made a submission to the National Cultural Policy, and was anxiously awaiting the outcome of today’s presentation.
“Australia knows its worth, and today’s speech by prime minister Albanese on the future of AI in this country made that crystal clear, when he articulated without a shadow of a doubt, that in embracing this new age,” she writes in a message to AAM’s members. “Australian writers, musicians, artists and journalists must retain ownership and control of their work.”
Read Albanese’s speech in full here.
Bryan Adams will punch on when his Roll With The Punches world tour sweeps into Australia next February and March, for what will be his second full-scale trek of these parts within two years.
The veteran Canadian rocker will play arenas in seven cities on both sides of the Tasman, with Australian pop artist Natalie Imbruglia locked in as “special guest.”
As it stands, the ANZ leg of Adams’ Roll With The Punches trek gets underway Feb. 23, 2027 at Perth’s RAC Arena, then heads to Sydney, Brisbane, Adelaide, Melbourne, Auckland and wraps up March 12 at Christchurch’s Wolfbrook Arena.
Frontier Touring is producing the shows, which follow Adams’ early 2025 visit for what turned out to be one of his biggest tours to-date of these parts.
The forthcoming tour is in support of Adams’ 16th and latest studio album, Roll With The Punches, which dropped last August on the singer and songwriter’s own Bad Records label, and peaked at No. 3 on the Official U.K. Albums Chart.
Adams powered through 140 shows worldwide last year, and will play dates in the United States, Canada and Europe in the months ahead before heading down Under in the southern summer.
Tickets go on sale Monday, 20 July at 12pm local via frontiertouring.com/bryanadams.
Bryan Adams’ 2027 ‘Roll With The Punches’ Tour of Australia and New Zealand:
Feb. 23 — RAC Arena, Perth
Feb. 26 – Qudos Bank Arena, Sydney
March 1 — Brisbane Entertainment Centre
March 4 — Adelaide Entertainment Centre
March 5 – Rod Laver Arena, Melbourne
March 10 — Spark Arena, Auckland
March 12 — Wolfbrook Arena, Christchurch
Fanatics Fest is returning to NYC this weekend, and Audiomack unveiled the official playlist to soundtrack the festivities on Tuesday (July 14).
The 50-track playlist boasts hits like Drake’s “Shabang,” Jay-Z’s “Empire State of Mind,” Justin Bieber’s “Yukon,” Sabrina Carpenter’s “Bed Chem,” Pop Smoke’s “Dior,” Don Toliver’s “E85” and Taylor Swift’s “Anti-Hero.”
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“At Audiomack, we believe that discovering new artists is one of the most exciting parts of being a music fan. Fanatics Fest brings together sports, music, and entertainment in a way that feels incredibly authentic, so becoming the official streaming partner was a perfect fit. We’re excited to help soundtrack the weekend while introducing fans to the next generation of artists,” said Audiomack’s co-founder and chief marketing officer, David Ponte.
While some of music’s titans carry the playlist, Audiomack also made sure to spotlight emerging acts like Lane Gang Wells, Bashfortheworld and Iman Nunez, whose track “Rotten Apple” features fellow New York natives Niko Brim and Kai Ca$h.
“‘Rotten Apple’ is New York personified. It’s about the grit, resilience, and mentality that defines this city. Having to do whatever it takes to push through obstacles and keep moving forward,” Nunez said in a statement. “That same mindset is what makes great athletes, so having the record featured on this year’s playlist feels like the perfect fit. We’re excited for it to help set the tone.”
Sports and music have been synonymous for decades, and those worlds will clash once again at Fanatics Fest, which takes over the Javits Center in NYC from July 16 through July 19. Adult single-day tickets are still available for $81, while Saturday (July 18) is priced at $93. Kids’ tickets are on sale for $35. There are various family deal packages as well.
The stars will be out at the four-day event, with appearances scheduled for Jay-Z, Serena Williams, Kevin Hart, Aaron Judge, New York Knicks star Jalen Brunson, LeBron James, Kevin Durant, Travis Scott and WWE superstar Roman Reigns.
Listen to the full Fanatics Fest playlist here.
Not even two years have passed since the September 2024 release of Suki Waterhouse‘s Memoir of a Sparklemuffin album, but the singer/actress had plenty of life changes to mine for her just-released third LP, Loveland.
“My last record, I finished it like the week before I had my daughter,” Waterhouse tells the Billboard Pop Shop Podcast about welcoming a baby girl with partner Robert Pattinson in March 2024. “And then this one, I remember I started a couple of weeks after she was born. … I never go, ‘OK, now I’m starting the new record!’ I think that would seem too frightening in a way.”
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But when she dove in, she put together a wide range of dreamy pop songs for her major-label debut with Island Records, co-writing every track on the project and teaming up with some reliable pop hitmakers for the first time, including Amy Allen, Aaron Dessner, Joel Little, Dan Wilson and Emily Warren.
“What an incredible group of people that I got to work with,” she marvels about the caliber of songwriters and producers on the project. “I think I connect with people really quickly, because I’m quite unguarded once I get into that room. I kind of have that British sort of [thing], like you can never quite understand if I’m being serious or not. But it doesn’t take me long to open up and kind of be talking about the nitty-gritty … and asking people what they think. When I’m with the right person, we can very quickly kind of get that down into a song.”
Listen to Katie & Keith’s full conversation with Suki here, and find highlights from the chat below.
Being inspired by the “huge shift” of motherhood
This record has been me having this huge shift that I knew was coming. I feel like my last record was sort of tying up all of those loose ends, knowing that I’m going into having this huge shift, and then it’s kind of becoming undone and then putting myself back together again. By the end of it, I can very much hold two truths at a time. I feel wiser than ever and also sillier than ever. … I also think a lot of my insecurities and worries about the kind of person that I was going to be, or the kind of mother or partner, and how I was going to do all of that together — I’ve kind of come to this understanding within myself, and I think a lot of those insecurities have maybe lessened, and I’ve kind of found my new self in this very joyful, delicate, interesting time in my life.
Why “Back in Love” was the right lead single
“Back in Love,” it was the last song that I wrote [for the album]. … It felt like healing, and it also felt like, I felt so excited. … Sometimes I feel this kind of dread about going out on the road, and that song made me really excited to go back out on the road. I’ve never played Saturday Night Live before, but suddenly, I was seeing myself play Saturday Night Live. By the way, haven’t got the offer, but you know what I mean? It felt like that kind of song. It kind of just, it made me dream a bit bigger.
How Britpop bled into second single “Tiny Raisin”
Seeing Oasis last year was definitely quite a big thing for me. The year before that, I opened for Taylor on the Eras Tour, so I got that experience of being at Wembley, then went back there the year later, saw my favorite band in the world that I grew up with, and so I think that was definitely running through my veins. And you know, David Bowie for sure also, like that kind of spacey, psych-rock feel. … You know that [British] term “marding”? I was marding a bit on this record and kind of getting my grievances out, but in a kind of cheeky way that feels true to me as a person.
Why “Weirdo” might be her “most personal” song yet
“Weirdo,” that song is maybe the most personal and just me really speaking very bluntly into a microphone and kind of just addressing things that I feel a bit embarrassed about. … They’re the things that you’re kind of like, “Oh, I hope this doesn’t make anyone say whatever on the Internet.” I think that one’s that song. Like, you hope that the listener can kind of get you or have context for your situation a bit, and not just be like, “Oh, you sound bratty.” … I don’t care at all when I’m writing, and then when you’re about to put something out, there’s another brain [or] voice in your head. Then you’ve got to make those two voices speak to each other, because the other one’s just suddenly like, “I want to be liked! I want to be loved!” And then there was the cool version that was just like, “I don’t give a f—, I’m gonna say it!”
What to expect from the Loveland Tour, starting July 22
It’s kabuki kind of, more of like a kind of theater show. … I’m in venues I’ve never been in before. I get to play Radio City for the first time. I never thought that would happen — like, that’s crazy, big bucket-list moments, and a whole new record to play. … I also hate it when I go to anyone’s show and they’re only playing all the new songs, so it is very much a balance.
What she learned from opening for Taylor Swift’s Eras Tour
I learned, for example, from Taylor how special she makes people feel. I just always remember walking in and there’s a handwritten note and how happy everyone was to be on that tour, every single person that’s working on it. So yeah, really making sure that everyone’s taken care of and making sure that people know how appreciated they are, because I think the energy backstage and the way that everyone’s treated is so important. So yeah, running like top down, having really like great vibes, and making sure that everyone’s happy.
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Also on the show, we’ve got chart news on how Madonna gets her 10th No. 1 album on the Billboard 200 albums chart, and her first of the 2020s decade, as CONFESSIONS II debuts atop the tally. Plus, Ella Langley continues her stranglehold on No. 1 on the Billboard Hot 100 songs chart with “Choosin’ Texas.”
The Billboard Pop Shop Podcast is your one-stop shop for all things pop on Billboard‘s weekly charts. You can always count on a lively discussion about the latest pop news, fun chart stats and stories, new music, and guest interviews with music stars and folks from the world of pop. Casual pop fans and chart junkies can hear Billboard‘s executive digital director, West Coast, Katie Atkinson and Billboard’s managing director, charts and data operations, Keith Caulfield every week on the podcast, which can be streamed on Billboard.com or downloaded in Apple Podcasts or your favorite podcast provider. (Click here to listen to the previous edition of the show on Billboard.com.)
Travis Scott is facing a lawsuit claiming he attacked and threatened the crew of a chartered yacht in Miami two years ago.
Scott was arrested for disorderly intoxication and trespassing at Miami Beach Marina in June 2024, but no criminal charges were pressed. But now, boat captain Adrian Frometa and charter managers John Steve Holguin and Mirnesa Hasanovic are pursuing civil assault claims against the rapper (born Jacques Webster).
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The lawsuit, filed on Saturday (July 11) and obtained by Billboard, says Scott rented a 105-foot yacht called Carpe Diem to cruise around Miami’s coast with three female guests on June 19, 2024. Frometa, at first the sole crew member on board, claims Scott became intoxicated and aggressive as the evening wore on. The captain decided to end the charter early due to this behavior, but Scott allegedly refused to disembark when they returned to the marina.
“Without any warning, Scott pushed Frometa from behind and then struck him with a closed fist to his neck and upper chest,” reads the lawsuit. “Scott then began screaming at Frometa. Scott repeatedly threatened Frometa, including by stating that Frometa was ‘dead’ and that Scott was ‘going to kill’ him.”
Frometa allegedly called in his bosses, Hasanovic and Holguin, for backup, and they arrived 10 minutes later. A further scuffle ensued, during which Holguin says he was knocked to the ground. According to the suit, Hasanovic and Holguin then barricaded themselves inside the boat’s interior while Scott “screamed they were ‘dead’ and attempted to force open the glass door while Holguin and Hasanovic physically held it shut from inside the vessel.”
The situation de-escalated when law enforcement arrived on the scene and ultimately arrested Scott. The rapper later posted his mug shot on social media and sold merch with the photo — a move that, according to Frometa, Hasanovic and Holguin, “made light of the incident and the harm caused.”
The group alleges they suffered both physical and emotional injuries from the incident. They’re seeking unspecified financial damages from Scott for claims of assault, battery, false imprisonment and intentional infliction of emotional distress.
A rep for Scott declined to comment on the lawsuit on Tuesday (July 14).
Beyoncé pops back into the top 10 of Billboard’s Hot R&B/Hip-Hop Songs chart for the first time in three years as “Morning Dew (Donk)” launches at No. 7 on the list dated July 18. The track, in its first official offering after various leaked demo versions in recent years, was announced as a surprise release on July 4.
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Elsewhere, “Morning Dew” opens at No. 3 on Hot R&B Songs and No. 26 on the Billboard Hot 100, becoming her 61st top 40 title. There, she ascends above Elton John and Travis Scott and ties Kendrick Lamar for the ninth-most top 40 hits in the chart’s nearly 68-year history.
For its chart arrivals, “Morning Dew” generated 8.5 million official streams, sold 4,000 downloads and registered 609,000 audience impressions in the tracking week of July 3-9 in the United States, according to Luminate. Beyoncé co-wrote and co-produced the song with Pharrell Williams, with additional writing credits from Darius Dixon, The Dream and Cheeky Blakk.
“Morning Dew” gives Beyoncé her best result on Hot R&B/Hip-Hop Songs since “Cuff It,” which reached No. 3 in February 2023. In all, the new track gives Beyoncé her 33rd solo top 10 on the ranking, a run that started via her featured turn on Jay-Z’s “’03 Bonnie & Clyde.” The first of many collaborations between the couple, it peaked at No. 5 in December 2002.
The chart debuts add a new notch to the “Morning Dew” saga, long the speculation of Beyhive lore. The song was reportedly originally recorded in 2013 around the Beyoncé album era; a snippet leaked in 2021 before a fuller version made its way online two years later, even sparking TikTok trends.
“Morning Dew” will appear on a 20th anniversary deluxe edition of Beyoncé’s sophomore album, B’Day. The set, released in September 2006, debuted at No. 1 on the Billboard 200 and sparked the smash “Irreplaceable,” the 2007 year-end Hot 100 No. 1 single. Additional hits included “Beautiful Liar,” with Shakira (No. 3), “Deja Vu,” feat. Jay-Z (No. 4) and “Ring the Alarm” (No. 11).
W Sound, Myke Towers and Ovy on The Drums’ “5 Estrellas (W Sound 23)” crowns Billboard’s Latin Airplay chart after the song climbs from No. 4 to the top of the list dated July 18. The track, released Feb. 4 via Big Ligas/King OVY/Warner Latina, also holds for a second week atop Latin Rhythm Airplay.
The song is the latest release from W Sound, the collaborative project of Colombian streamer, songwriter and producer Luis Fernando Villa Álvarez, aka WestCOL, and producer Ovy on the Drums. After reaching No. 24 on Latin Airplay in August 2025 with “La Plena (W Sound 05),” with Beéle, the pair enlisted Myke Towers for “5 Estrellas,” which now gives the project its first Billboard chart-topper in the United States.
“We didn’t miss in the U.S. music market either, our first-ever No. 1 on Billboard’s Latin Airplay and Latin Rhythm Airplay charts,” WestCOL (Villa) shares with Billboard. “I’m incredibly grateful to the fans, and to Ovy and Myke for believing in this project. We’re just getting started.”
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“5 Estrellas (W Sound 23)” reaches No. 1 on Latin Airplay one week after topping Latin Rhythm Airplay, boosted by a 15% gain in audience impressions, to 7 million, earned in the U.S. during the July 3-9 tracking week, according to Luminate.
“Seeing W Sound reach its first No. 1 on both Billboard’s Latin Airplay and Latin Rhythm Airplay charts is a huge milestone for all of us,” Ovy on The Drums adds. “From day one, the vision has been to create records that connect across borders and cultures. I’m grateful to WestCOL, Myke, our entire team, and most importantly the fans for making this possible. This is another step forward, and we’re excited for everything that’s still to come.”
With the new win, WestCOL lands his first Latin Airplay No. 1 under the W Sound banner, marking his breakthrough on U.S. Latin radio after first building his profile in streaming and digital spaces. The achievement arrives despite past controversy surrounding the Colombian personality over offensive public remarks that sparked backlash online.
Ovy on the Drums earns his second No. 1 as a billed artist, following “Enemigos,” with Ozuna and Beéle, which led for one week in April. As a producer, meanwhile, the Colombian scores his 14th Latin Airplay leader, dating to Karol G and Nicki Minaj’s “Tusa” in 2020. Myke Towers pops back to No. 1 for his 17th career chart-topper, after “Tengo Celos” reached the summit last November.
“It’s always special to see a song connect with people like this,” said Towers. “I’m thankful to W Sound, Ovy, everyone who was part of this record, and especially to the fans and radio stations that continue supporting my music. Every No. 1 means a lot, and it motivates me to keep raising the bar.”
Elsewhere, “5 Estrellas (W Sound 23)” reaches a new peak on the Hot Latin Songs chart, which mixes streams, radio airplay and digital sales. Thanks to its radio haul, the song advances 27-21.
Grammy-nominated band Snow Patrol signed a global record deal with BMG that covers the band’s future studio releases. The first release under the deal, the single “These Arms” with Kylie Minogue, dropped on July 1. Notably, the band recorded the track for its 2024 album, The Forest Is the Path, but held it back until they could record it with the pop star.
Alistair Norbury, president of the UK, Continental Europe and APAC at BMG, said in a statement: “Snow Patrol are one of the great songwriting bands of their generation. There’s a rare consistency to their work — songs built on emotional honesty that continue to resonate around the world. At BMG, we’re focused on long-term artist partnerships, and we’re proud to work with the band as they focus on new music and enter their next creative chapter.”
“We are delighted to be working with BMG,” added Snow Patrol. “We’ve known Alistair and his team for a long time and he and everyone at the label have always been enthusiastic supporters and champions of music and creativity. We’re excited about working together on new SP music. We can’t wait to get started.”
BMG additionally represents the music publishing interests of Snow Patrol members Gary Lightbody and Nathan Connolly. The band was previously signed to Polydor.
Since forming in the mid-1990s, Snow Patrol has released eight albums, including the RIAA platinum-certified Eyes Open and the gold-certified Final Straw. The band has also enjoyed four entries on the Billboard Hot 100, including the No. 5 hit “Chasing Cars” from 2006. It has additionally charted two albums in the top 10 of the Billboard 200: 2008’s A Hundred Million Suns (No. 9) and 2012’s Fallen Empires (No. 5). — Chris Eggertsen
Read about more recent artist signings below.
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Nobody’s perfect, but Zara’s new Hannah Montana perfume comes pretty close.
After fans spotted rumors of a possible release online, the retailer has officially confirmed that the fragrance is real. Zara has launched an exclusive perfume inspired by Hannah Montana, the beloved Disney Channel character played by Miley Cyrus.
The floral and fruity fragrance captures the attitude and spirit of Hannah Montana with a sweet blend of red fruits, rose and vanilla. The scent begins with a burst of juicy red fruits before transitioning into a luminous rose note and finishing with a soft vanilla sweetness.
For longtime fans of the series, the fragrance also feels like a nod to one of Hannah Montana’s most memorable storylines. In Season 1, Episode 25, “Smells Like Teen Sellout,” Hannah Montana promotes a raspberry-scented perfume called Eau Wow. However, the pop star quickly realizes she cannot stand the scent after eating five raspberry pies in 10 minutes during a pie-eating contest.
While Eau Wow became a fictional fragrance Hannah Montana would rather forget, Zara’s version offers a sweeter and more wearable take with a balance of fruity and floral notes.
POP CULTURE FAVORITE
Zara
Hannah Montana Disney Perfume 90 ML
A feminine floral and fruity fragrance inspired by the Disney Channel icon.
The Zara Hannah Montana Eau de Toilette features 90 ml (3.04 fl. oz.) of a bright, fruity and floral fragrance. The perfume comes in a statement bottle with a purple cap and Hannah Montana’s signature autograph, while the playful pink packaging features glitter star details inspired by the Disney singer’s style.
The perfume arrives as Hannah Montana nostalgia continues to reach new heights. Zara has already embraced the franchise’s popularity with Hannah Montana-inspired merchandise, including two graphic T-shirts released around the character’s 20th anniversary.
The anniversary celebrations also included the release of the Hannah Montana 20th Anniversary Special on Disney+, featuring an exclusive interview with Miley Cyrus hosted by Alex Cooper. The special explored the creation of Hannah Montana, the character’s influence and the lasting impact the series has had on fans worldwide.
FAN FAVORITE FIND
Zara
Hannah Montana Disney T-Shirt
A regular-fit T-shirt featuring a rhinestone text detail on the front.
Fans looking for a simple Hannah Montana tee can add this style to their wardrobe while it’s on sale. Currently 60% off during Zara’s Sale, the T-shirt is made from a washed-effect cotton blend and comes with rhinestone text detailing on the front showcasing the Disney show’s logo.
DEAL ALERT
Zara
Hannah Montana Disney Washed Effect Kids T-Shirt
Young fans can celebrate Hannah Montana with this 50 percent off Zara find.
Made from 100 percent cotton, this kids’ Disney T-shirt comes in sizes for ages six to 14 and features a charcoal washed effect for a vintage-inspired look. The front showcases five black-and-white images of Hannah Montana posing alongside pink and black lettering displaying the singer’s name.
Since premiering in 2006, Hannah Montana has remained one of Disney Channel’s most influential franchises. The show helped launch Cyrus’ career, reshaped kids’ TV and became a major force in music and fashion. The franchise also made an impact on the Billboard charts, with the Hannah Montana: The Movie soundtrack reaching No. 1 on the Billboard 200 in 2009. The album marked the third soundtrack from the franchise to top the chart, following the success of the first two Hannah Montana TV soundtracks.
Although the series ended in 2011, Hannah Montana’s influence has continued to grow through new generations of fans, anniversary celebrations and nostalgic releases like Zara’s new fragrance.
Lil Durk is still set to go before a Los Angeles jury next month in a federal murder-for-hire case, despite prosecutors’ attempt to delay the trial with new charges and evidence about alleged gang activity in Chicago.
Judge Michael W. Fitzgerald ruled on Tuesday (July 14) that the rapper (Durk Banks) will go to trial as scheduled on Aug. 20. During a hearing earlier in the day, where Billboard was present, the judge sharply admonished prosecutors for tacking on additional charges last month and then requesting to push back Durk’s already-delayed trial.
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In an original indictment from 2024, Durk is charged with putting a bounty on rival rapper Quando Rondo in retaliation for the 2020 killing of his close friend and collaborator King Von. Rondo was shot at a Los Angeles gas station in 2022 and survived, but another man was killed in the crossfire.
In June, prosecutors added new counts under the federal Violent Crimes in Aid of Racketeering Activity (VICAR) statute, which broadly criminalizes violent gang activity. The updated indictment claimed that in addition to the Los Angeles murder, Durk ordered additional killings and other crimes through his Chicago-based Only the Family (OTF) label crew.
Lead prosecutor Ian Yanniello argued in court on Tuesday that the new VICAR counts are inextricably tied to the existing charges, since the Los Angeles murder was allegedly “done on behalf of a gang.” But Judge Fitzgerald said he views the new charges as a strategy, albeit a “no doubt clever” one, to bolster the case with separate incidents that look bad for Durk.
“You think you will have a better chance to win if the Chicago count is tried with the Los Angeles murder. That’s obvious,” the judge told Yanniello during the hearing. “You treat that as a feature. I treat that as a bug.”
Judge Fitzgerald said it would be “much simpler” to have one trial focused only on the Los Angeles murder, and then potentially hold a second trial later on the VICAR gang counts. He told Yaniello that if the government felt so strongly about including the Chicago gang-related evidence in the initial trial, they should have pushed for it earlier.
“You chose not to do that,” Judge Fitzgerald said to the prosecutor. “You had over a year… so I don’t want to hear more argument that the third superseding indictment is necessary to prove the Los Angeles murder.”
Durk vehemently maintains he’s innocent of all charges against him. His defense team has argued that the latest indictment is “lipstick on a pig” and “an acknowledgment of weakness.” One of Durk’s lawyers, Drew Findling, told the press after Tuesday’s hearing that Judge Fitzgerald got it right in his comments from the bench.
“It’s one of those days that makes it so rewarding to be a trial attorney,” said Findling. “We so appreciate the thoroughness that took place in that courtroom today.”