Chris Brown and several members of his entourage, along with Brown’s 11:11 Tour promoter Live Nation, are facing a lawsuit over an alleged assault that took place following Brown’s concert in Fort Worth, Texas, on Friday night.

Filed Monday (July 22) in Harris County district court by attorneys Tony Buzbee and Caroline Adams, the lawsuit claims that Brown and several accomplices “brutally and severely beat” four men — Larry Parker, Joseph Lewis, Charles Bush and Damarcus Powell — backstage at Dickies Arena in an unprovoked attack following the show.

“The violence included Brown and his entourage surrounding the Plaintiffs, throwing chairs at them, and repeatedly kicking, stomping, and beating them,” the complaint reads. “The unprovoked violence included multiple strikes to the Plaintiffs’ heads and chests, and ultimately involved stomping them while they were down. The brutal, violent assault participated in and directed by Brown, severely injured all Plaintiffs.”

According to the complaint, the attack occurred after the four men were invited to the backstage VIP area following the show, where they allegedly waited 30 minutes for Brown to arrive. “Having grown tired of waiting,” the complaint reads, the men began making their way to the exit, at which point Bush says he approached Brown to shake his hand and congratulate him on the concert. After exchanging pleasantries, a member of Brown’s crew then allegedly shouted to Brown, “Man, you don’t remember you two were beefing?” The lawsuit claims that Brown then replied, “Oh yeah, we were…I don’t forget sh–” before instructing his entourage to “f—” Bush up.

At that point, the plaintiffs claim that Brown, along with “seven to ten members” of his crew, followed them into a hallway as they were attempting to leave and attacked them. “One of Brown’s entourage, known by the alias Sinko, ran to the left side of the crowd and punched Bush in the chest,” the complaint reads. “Simultaneously, another of Brown’s entourage, stage alias Hood Boss, picked up a chair and threw it at Bush’s head.”

The complaint says that Parker was also badly beaten after Brown allegedly instructed another member of his entourage, Markies Deandre Conway (a.k.a. Yella Beezy), and several others to “f—” him up. After fleeing into a stairwell, the lawsuit claims Parker became trapped by a locked door at the bottom of the stairs, where he was subsequently attacked by Brown and several other men.

“Upon instruction by Brown, Parker was then punched in the face and chest, kicked in the head for over ten minutes, and stomped on by Defendant Brown and his associates,” the complaint alleges. “Brown encouraged his companions to join in the assault simultaneously. Brown and his entourage then continued to beat Plaintiff Parker closed fisted for almost minutes, repeatedly stomping on Defendant Parker’s head, kicking his face and ribs, and causing severe bodily injury.”

Brown and his crew are also accused of punching Powell in the shoulder and punching Lewis in the shoulder and chest.

The complaint claims that all four men required medical treatment and that Parker was hospitalized and “will need to undergo extensive medical treatment for the damages he suffered in the attack, including head injuries.”

In addition to Brown, the lawsuit names three members of his entourage — Conway, Hood Boss (a.k.a. Omololu Omari Akinlolu) and Sinko Ceej — as defendants. As for Live Nation, the complaint alleges that the concert promoter continued working with Brown despite his history of “bad conduct and violent conduct.” According to the lawsuit, the company “shamelessly profits and promotes Brown’s The 11:11 Tour and brought Brown to Texas for financial gain. Live Nation failed to insure that the [participants] of the concert who may be around Brown, and his associates, were safe.”

The plaintiffs are asking for compensatory and punitive damages “in excess [of] $50 million,” along with actual damages for “pecuniary losses, pain and suffering, disfigurement, mental anguish, and past, present, and future medical expenses,” among other relief.

In making its case, the plaintiffs’ attorneys make note of several of the defendants’ criminal histories, alleging that Ceej was a member of “the blood gang” and spent “at least eight years in prison” and that Conway, “a former Crip gang member,” has been arrested multiple times for firearm possession and sexual assault.

The lawsuit additionally recounts Brown’s well-publicized brushes with the law, including the singer’s guilty plea for beating his then-girlfriend Rihanna in 2009, for which he was sentenced to five years’ probation and community service and forced to undergo domestic violence counseling. Brown has been arrested and/or sued multiple times for various instances of alleged physical and sexual assault, including by multiple women and his former manager, Michael Guirguis. In 2014, Brown pleaded guilty to simple assault for punching a man in the face the previous year.

Representatives for Brown, Live Nation and Conway did not immediately respond to Billboard‘s requests for comment. Representatives for Akinlolu and Ceej could not be located for comment.

Jimin‘s Muse has topped this week’s new music poll that features artists in various genres of music.

Music fans voted in a poll published Friday (July 19) on Billboard, choosing the BTS star’s second solo album as their favorite new music release of the past week.

Muse brought in 68% of the vote on the poll, securing a notable edge ahead of new releases from Stray Kids (Ate), Joe Jonas (“Work It Out”), JADE (“Angel of My Dreams”), Childish Gambino (Bando Stone & The New World), and others.

Jimin first announced Muse in June, with BigHit Music writing in a statement that the album would showcase his “expanded musical spectrum.” “Following his first solo album, ‘Face,’ where he sought to explore his true identity, ‘Muse’ documents his journey in search of the source of his inspiration,” the release continued.

The project features collaborations with Loco and Sofia Carson, with the K-pop icon experimenting with bold new sounds and styles throughout. The set follows 2023’s Face, which reached No. 2 on the Billboard 200.

Jimin first made his solo debut in 2018, when he dropped the single “Promise.” Five years later, he became the first South Korean soloist to reach No. 1 on the Billboard Hot 100 chart with “Like Crazy.”

Muse is just one of a few projects that Jimin has been working on amid his time in the South Korean military, in which all of his BTS bandmates — except for Jin, who finished his enlistment in June — are currently serving.

Jimin is also gearing up to release a docu-series titled Are You Sure?! with Jung Kook chronicling the two friends’ travels through parts of their home country, the U.S. and Japan.

Trailing behind Muse on this week’s poll is Stray Kids’ mini-album Ate, with 27% of the vote. The eight-member K-pop group dropped the project two months after the arrival of their Charlie Puth-assisted single “Lose My Breath,” marking the group’s third single of 2024.

See the final results of this week’s poll below. Check out Billboard‘s Friday Music Guide to catch up with more must-hear releases from this week.

Eminem achieves his 11th No. 1 album on the Billboard 200 chart (dated July 27) as his latest studio album, The Death of Slim Shady (Coup de Grâce), debuts atop the list. The set launches with 281,000 equivalent album units earned in the U.S. in the week ending July 18, according to Luminate. It scores the largest week for any rap album in 2024.

With an 11th No. 1 on the Billboard 200 chart, Eminem ties Bruce Springsteen, Barbra Streisand and Ye (formerly Kanye West) for the fifth-most No. 1s on the Billboard 200. Ahead of them are The Beatles (a record 19 No. 1s), Jay-Z and Taylor Swift (each with 14) and Drake (13).

Also in the top 10 of the new Billboard 200, three acts all debut with their highest-charting albums ever, as ENHYPEN, Clairo and Megan Moroney’s latest releases enter at Nos. 2, 8 and 9, respectively. Plus, after 12 consecutive weeks at No. 1, Taylor Swift’s The Tortured Poets Department spends its first week outside the top slot, falling to No. 4 in its 13th week on the list.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new July 27, 2024-dated chart will be posted in full on Billboard‘s website on July 23. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of The Death of Slim Shady (Coup de Grâce)’s 281,000 first-week units, SEA units comprise 164,500 (equaling 220.08 million on-demand official streams of the tracks on the streaming edition of the album; Death also debuts at No. 1 on Top Streaming Albums), album sales comprise 114,000 (all from digital downloads; it wasn’t available as a physical album) and TEA units comprise 2,500.

Death’s first-week sales mark the biggest sales week in 2024 for a rap album. It also nets the second-largest sales week this year for a digital download album, behind only the debut of Swift’s Poets with 274,000 downloads sold in its opening week.

Death was available to purchase only as a digital download and was issued widely in both clean and explicit editions, in addition to three further variants sold exclusively in Eminem’s official webstore. Of the latter three, two were sold as a pre-order for a limited time before the set’s release, and each came with their own exclusive bonus track — one with “Kyrie & Luka,” featuring 2 Chainz, and one with “Like My Shit,” featuring FIFTEENAFTER. A third webstore variant dropped on Wednesday (July 17), carrying both bonus tracks and an exclusive “Steve Berman” skit. The CD and vinyl editions of The Death of Slim Shady are due for release on Sept. 13 and Oct. 25, respectively.

Eminem’s new album was preceded by two top 40-charting hits on the Billboard Hot 100, “Houdini,” which debuted and peaked at No. 2 on the June 15 chart, and “Tobey,” with Big Sean and BabyTron, which climbed to No. 27 on the July 20 chart.

ENHYPEN captures its highest-charting album ever, and fourth top 10, as Romance: Untold debuts at No. 2 on the Billboard 200 with 124,000 equivalent album units earned — the act’s largest week ever by units. Of that sum, album sales comprise 117,000 (the group’s best sales week ever; the set debuts at No. 1 on Top Album Sales), SEA units comprise 7,000 (equaling 9.53 million on-demand official streams of the album’s tracks) and TEA units comprise a negligible sum. The album’s sales were bolstered by its availability across 17 different CD variants, all containing collectible paper ephemera like photocards, stickers and a poster, as well as two vinyl editions.

Zach Bryan’s The Great American Bar Scene slips 2-3 in its third week on the list (88,000 equivalent album units; down 36%) while Taylor Swift’s The Tortured Poets Department falls 1-4 (82,000; down 50%). The latter spent its first 12 weeks on the chart at No. 1.

Morgan Wallen’s chart-topping One Thing at a Time dips 3-5 on the Billboard 200 with 66,000 equivalent album units earned (down 5%), Billie Eilish’s Hit Me Hard and Soft descends 4-6 with 57,000 units (down 2%) and Chappell Roan’s The Rise and Fall of a Midwest Princess falls 5-7 with 54,000 units (down less than 1%).

Clairo scores her highest-charting album ever, and first top 10, as Charm enters at No. 8 on the Billboard 200 with 47,000 equivalent album units earned — her best week ever by units. Of that sum, album sales comprise 32,000 (her best sales week ever), SEA units comprise 15,000 (equaling 19.78 million on-demand streams of the set’s tracks) and TEA units comprise a negligible sum. The set’s first-week sales was amplified by the album’s availability across eight vinyl variants and four deluxe boxed sets (containing branded merchandise and a CD). Vinyl sales comprise 15,000 of the album’s first week – Clairo’s best week ever on vinyl.

The album was preceded by the single “Sexy to Someone,” which has reached the top 20 of the Adult Alternative Airplay chart, and the top 30 of the Alternative Airplay and Hot Rock & Alternative Songs rankings.

Megan Moroney lands her first top 10-charting set on the Billboard 200 as her second full-length studio album Am I Okay? bows at No. 9 with 43,000 equivalent album units earned — the singer-songwriter’s largest week by units. Of that sum, SEA units comprise 30,000 (equaling 38.05 million on-demand official streams of the set’s tracks), album sales comprise 13,000 and TEA units comprise less than 500. The album was preceded by a trio of entries on the Hot Country Songs chart: “No Caller ID,” “28th of June” and “Indifferent.” The new album’s success follows Moroney’s chart breakthrough in 2023 with the single “Tennessee Orange,” from her debut full-length, Lucky (peaking at No. 38 on the Billboard 200 in 2023). “Tennessee” climbed to No. 10 on Hot Country Songs and garnered song of the year nominations at both the Country Music Association Awards and the Academy of Country Music Awards.

Closing out the top 10 of the new Billboard 200 is Noah Kahan’s Stick Season, slipping 7-10 with 40,000 equivalent album units earned (though up 4%).

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

Ryan Reynolds is opening up about how Madonna approved the use of “Like a Prayer” for use in Deadpool & Wolverine.

During an interview with Jess Cagle on SiriusXM on Friday (July 19), Reynolds shared the story of how he and co-star Hugh Jackman, along with director Shawn Levy, convinced the Queen of Pop to license her 1989 hit for the highly anticipated superhero flick.

“It did involve a personal visit to Madonna, where we showed Madonna the sequence where ‘Like a Prayer’ would be used,” Levy said.

“Also, let’s preface it with the fact that they don’t license — that Madonna doesn’t just license the song, particularly that song,” Reynolds added. “It was a big deal to ask for it and certainly a bigger deal to use it. We went over and met with her and and sort of showed her how it was being used, and where, and why.”

“It was a big deal to ask for it and certainly a bigger deal to use it,” the Deadpool actor continued. “We went over and met with her and and sort of showed her how it was being used, and where, and why.

During the visit, Reynolds joked that he had to ask one of Madonna’s team members how to appropriately address the iconic singer.

“Like am I allowed to just say, ‘Madonna?’” he said. “Like, ‘Hello Madonna, I’m Ryan.’”

Madonna ended up granting them permission to use “Like a Prayer” — which spent three weeks at No. 1 on the Billboard Hot 100 chart in 1989 — and even provided some ideas on how to use the classic track in the film.

“She gave a great note,” Reynolds said. “She watched it, and I’m not kidding, [she said], ‘You need to do this.’ And damn it, if she wasn’t like spot on.”

“We literally went into a new recording session within 48 hours to do this note,” Levy added. “It made the sequence better.”

Deadpool & Wolverine opens in theaters on July 26.

Watch a clip from Reynolds’ SiriusXM interview here.

Luke Combs‘ recent concert featured beer-guzzling cameos by the stars Hollywood’s latest blockbuster.

During his Growin’ Up and Gettin’ Old tour stop at New Jersey’s MetLife Stadium on Friday (July 19), the country singer was joined onstage by Twisters cast members Glen Powell, Daisy Edgar-Jones and Anthony Ramos.

In fan-captured footage posted on social media, the actors are seen carrying beer cans as they walk onto the stage in front of thousands. After reaching Combs, they shotgun the suds alongside the “Cold Beer Calling My Name” singer and then toss the empty containers into the cheering crowd. Edgar-Jones seemed to have trouble finishing the beverage, but handed it off to Powell, who quickly drank it down.

“So this happened,” Edgar-Jones captioned a video of the incident on her Instagram Story, tagging Combs and her Twisters co-stars. Ramos reposted the clip, adding the line, “The most legendary moment.”

Combs also joined in on the fun, sharing a video of the beer chugging on his X (formerly Twitter) account. “Hey Twisters cast, what you say we shotgun one?!” he captioned the post.

The epic moment was in celebration of the theatrical release of Universal Pictures’ Twisters, which is the sequel to classic 1996 film Twister. The new summer flick is already off to a huge start at the box office, with forecasters predicting a domestic opening of of $74.6 million, according to The Hollywood Reporter.

The Twisters cameos at Combs’ N.J. was fitting being that the county star’s original song “Ain’t No Love in Oklahoma” is featured on the movie’s soundtrack. The muscular track is already No. 10 on Billboard’s Country Airplay chart after only nine weeks. Other country music heavyweights featured on the collection include Miranda Lambert, Kane Brown, Lainey Wilson, Shania Twain and Jelly Roll.

Combs’ manager says the singer was enthusiastic about taking part in the soundtrack. 

“We wanted to do this because it wasn’t a remake of a classic, but a continuation of the narrative of the film, and we felt the movie was going to be an epic moment to be a part of,” Chris Kappy tells Billboard. “The team at Atlantic and Universal were very professional and fun to work with, and gave Luke full creative control on the song and trusted him — so that makes it easier to let the artist create.”

See Combs chug a beer with the Powell and his Twisters co-stars below.