Fat Joe claps back against 'disgusting lies' amid allegations of coercion, sex with minors
Rapper Fat Joe took a stand on social media against allegations of coercion, intimidation and sex with minors that emerged last week in a lawsuit filed by his former hype man.
The Bronx native (birth name Joseph Cartagena) broke his silence Wednesday in a statement on Instagram informing followers that he has "been tested the last few months" with recent deaths in his family — and now legal woes. The 54-year-old musician said he is "fighting against these disgusting lies" about his alleged behavior and promised, "I will not break and I will NEVER back down."
Terrance "T.A." Dixon filed a federal lawsuit against his former employer last week, accusing Fat Joe of underpayment, swindling him out of pay for his contribution to album tracks, ditching him in foreign countries without money or transportation home and running a criminal organization built on intimidation and violence. The lawsuit also alleges that Fat Joe forced the hype man into approximately 4,000 sex acts with women in front of him and his team and accuses the rapper of having sexual relationships with girls who were 15 and 16.
Read more: Fat Joe accused of coercion, intimidation, sex with minors in ex-hype man's lawsuit
Fat Joe in his statement railed against people in his close circles who "take my love and kindness for weakness" and claimed that "people steal from me, grow jealous of me, lie on me." He said ultimately he and his family face the fallout of betrayal.
The "All the Way Up" rapper did not name Dixon or explicitly relay the allegations against him but instead dwelled on how haters "decide to go after one of the things you value the most — your reputation," including by making up "the most insane stories" as retaliation and taking their grievances to court. He said he won't be shaken down.
"I've never let anyone on the streets extort me, so how would I ever let a crooked attorney and coward ex-hype man extort me?? I'm from the Bronx!" he said.
Fat Joe spoke out after his attorney Joe Tacopina dismissed Dixon's allegations as 'complete fabrications." In April, the rapper sued Dixon for alleged slander after the former hype man accused him on social media of flying a 16-year-old across state lines for sex — hence the suggestion of retaliation.
Read more: Smokey Robinson's accusers blast his $500-million countersuit as 'attempt to silence and intimidate'
Dixon's attorney Tyrone Blackburn was also subject to Fat Joe's ire as the rapper promised "we will finish you in court." New York police arrested Blackburn on Wednesday; he was accused of hitting a process server with his car in New York City and booked on suspicion of assault, NBC News reported. Blackburn's lawyer told XXL the arrest seemed to be "somewhat of a setup."
Fat Joe concluded his Instagram statement by asserting that the era of attorneys leveraging their "law license as a badge to extort people and destroy families with no evidence is over!!
"I'm not the one!! You've messed with the wrong one this time!!"
Times assistant editor Christie D'Zurilla contributed to this report.
Get notified when the biggest stories in Hollywood, culture and entertainment go live. Sign up for L.A. Times entertainment alerts.
This story originally appeared in Los Angeles Times.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
27 minutes ago
- Yahoo
Box Office: ‘F1' Revs to $144 Million Globally, ‘Lilo & Stitch' Nears $950 Million Milestone
Brad Pitt's original racing drama 'F1' drove to the top of the box office charts, collecting a sizable $88.4 million internationally and $144 million globally in its opening weekend. The film, from director Joseph Kosinski and producers Jerry Bruckheimer and Formula One champ Lewis Hamilton, follows a retired driver (Pitt) who returns to the popular motorsport to coach a cocksure rookie (Damson Idris) and save a failing team. Outside of the U.S. and Canada, where 'F1' zoomed to $55.6 million, the top-earning territories were the United Kingdom with $9.2 million, China with $9 million and Mexico with $6.7 million. More from Variety 'M3GAN 2.0' Star Allison Williams on Making The Android an 'Action Star' and Crafting Another Unforgettable Musical Moment Brad Pitt's 'F1' Delivers Apple's First Box Office Hit With $55.6 Million Debut, 'M3GAN 2.0' Fizzles With $10 Million 'M3GAN 2.0' Costume Designer on How Farrah Fawcett and Judy Jetson Inspired M3GAN's Armor 'F1' marks the first commercial win for Apple, which has previously backed underperforming big screen offerings like 'Killers of the Flower Moon,' 'Napoleon' and 'Argylle.' Against a nearly $250 million production budget and massive marketing spend, 'F1' will need significantly more ticket sales to break even and turn a theatrical profit. But this is Apple's closest attempt to all-audience blockbuster status and will soon overtake 'Napoleon' ($221 million globally) as the company's highest-grossing release. And 'F1' is expected to benefit in the coming weeks from solid reviews, positive word-of-mouth and Imax screens before landing on the company's streamer, Apple TV+. Since Apple doesn't have a distribution arm, the tech giant is paying Warner Bros. to put the film in theaters; the Burbank-based studio will also receive a percentage of theatrical revenues that increases with certain box office benchmarks. 'F1' also represents a victory for Imax, whose cameras were used to film the ultra-immersive, high-speed racing sequences. Imax screens accounted for $11.1 million overseas and $27.7 million globally, representing 19% of overall revenues — the fourth-highest percentage in Imax's history. ''F1' has inspired audiences around the globe with its underdog story and perfect blend of high-octane racing and human-centered storytelling,' says Apple's head of worldwide video Zack Van Amburg. 'The film's outstanding debut reflects both the excitement of Formula 1 and the deeply emotional and entertaining story crafted by the entire cast and creative team. Their dedication and innovation have fueled an unforgettable cinematic experience.' In terms of other newcomers, Universal and Blumhouse's A.I. thriller 'M3GAN 2.0' flatlined with $7 million from 80 international markets. Mexico earned a leading $1.2 million, followed by the U.K. and Ireland with $700,000 and Brazil with $400,000. Along with $10.2 million domestically, 'M3GAN 2.0' has grossed a soft $17 million in its first weekend of release. With weak reviews and seemingly diminished audience interest, the campy horror sequel failed to achieve the box office heights of 2023's 'M3GAN,' which ignited to $15 million overseas and $45 million globally. The original became a sleeper hit with $180 million worldwide, which explains the studio's justification for the follow-up film set around the scream queen who became a meme queen. Fortunately for the studio, 'M3GAN 2.0' cost a modest $25 million, so potential theatrical losses won't be too painful. Plus, Universal is flying high with 'How to Train Your Dragon,' which added $32 million internationally in its third frame. The live-action remake has earned $254 million overseas and $454 million worldwide to date, underscoring the enduring appeal of the fantastical property. Universal has the live-action sequel set for 2027. PG films have been dominating at the box office with 'Lilo & Stitch' adding $13.1 million from 52 markets for a massive overseas tally of $545 million. After six weekends on the big screen, the live-action 'Lilo & Stitch' is about to cross the $950 million milestone (with $946 million globally so far) and has $1 billion on the horizon. A live-action sequel to 'Lilo & Stitch' is also in the works. Not every movie with a family friendly rating is electrifying the box office. Disney's original Pixar adventure 'Elio' brought in just $11.4 million from 48 territories in its sophomore outing. After notching the worst start in Pixar history, 'Elio' has grossed $30 million overseas and $73 million worldwide. Though positive word-of-mouth should help the film endure throughout the summer, 'Elio' is nowhere near on track to earn enough to justify its $150 million production budget.


CBS News
33 minutes ago
- CBS News
1 killed, 2 injured after Jeep rolls over on I-94 in Detroit, police say
One person died and two others were injured after two Jeeps collided on westbound I-94 Saturday evening, Michigan State Police said. The crash happened at around 7:10 p.m. Saturday on westbound I-94 near Gratiot Avenue when the driver of a silver Jeep in the left lane and the driver of a green Jeep in the center lane attempted to change lanes at the same time and collided, MSP said. The collision caused the driver of the silver Jeep to strike a median wall and roll over, while the driver of the green Jeep went up the right embankment and struck a tree, police said. A passenger in the silver Jeep, a 27-year-old St. Clair Shores man, was pronounced dead at the scene. The driver and another passenger of the silver Jeep were taken to an area hospital and treated for minor injuries, police said. The driver of the green Jeep, who was the lone occupant, was not injured. The freeway was closed for about four hours for an investigation, according to troopers. "Troopers are continuing the investigation into this crash," said MSP Lt. Mike Shaw. "We want to remind drivers to be careful when changing lanes. Make sure you use your turn signal, check your mirrors and blind spots, and then start to change lanes."


New York Times
37 minutes ago
- New York Times
‘Pastoral' Review: Sampling Beethoven at Bard
The experience of attending a performance at Bard SummerScape in the Hudson Valley is not confined to the theater. For someone traveling from New York City, as I did on Saturday, there's an entire preshow of escape into the country: the car or train ride along the blue stripe of the Hudson River, the calming effect of dense green forests. This is partly the subject of 'Pastoral,' the latest work by the choreographer Pam Tanowitz. Partly, because the pastoral in art is not a return to nature but an idealized view of it, a substitute following a separation. This 'Pastoral,' which ran Friday through Sunday afternoon, is very much in conversation with the past. The décor by the painter Sarah Crowner — green floral shapes as clean-edged as Matisse cutouts — invokes swathes of Western art history, as do the group tableaus in Tanowitz's choreography, as if taken from scenes in paintings by Nicolas Poussin. Caroline Shaw's score samples from and playfully remixes Beethoven's Symphony No. 6, the one called 'Pastoral.' These elements — along with Reid Bartelme's gauzy costumes in a sherbet color palette and Davison Scandrett's subtly imaginative and color-sensitive lighting — combine in such fresh and delightfully unpredictable ways that it's distorting to discuss them separately. Nevertheless, let's start with the music. Shaw switches among a live woodwind trio and several recordings of the Beethoven, both recent and more than a century old, wax cylinders with the scratchy sound of the distant past. The recordings fade in and out, sometimes eddying in stuck-record loops that toy with the tension and release of classical musical grammar. The live musicians behave like samplers, too: erasing bits of Beethoven, stretching, slowing, accelerating the tempo. The woodwinds are all reeds, among the most pastoral of instruments, and on the low end of the section. The bassoonist Dana Jessen croaks like a frog and extends duck calls into song. Alongside these mimetic games, Shaw adds real field recordings of frogs and crickets but also of trains and traffic, the urban environment that creates the pastoral perspective. One of Shaw's wittiest touches is to bring out the similarity between a bouncing triplet figure in the Beethoven and a car horn. Want all of The Times? Subscribe.