The group, which formed on Sean “Diddy” Combs’ MTV reality show “Making the Band” in 2007, announced today that they have officially parted ways.
The four remaining members–Willie, Brian, Robert, and Mike–released a statement saying, “It is with great sadness and deep pain that we regret to inform you that effective immediately, Atlantic Records Platinum recording group, Day26 have decided to take a break from the group and focus on their own individual projects.”
The quintet dropped two albums on Bad Boy before Diddy moved his label over to Interscope…and left them behind at Atlantic Records.
They released three singles after Diddy severed ties, but none charted in the U.S.
*Sean “Diddy” Combs is facing a lawsuit from a concert-goer who claims he was hit in the stomach with a microphone during a 2008 taping of his former MTV reality show “Making The Band.”
Kevin Faraday has filed suit claiming he was in the audience at the Hammerstein Ballroom in New York during filming and alleging he was injured by a man who ran onstage in between the performances, according to TMZ.com.
The website reports Faraday has named Diddy in the legal papers along with his Bad Boy Entertainment company and Danity Kane, the band that formed on the show.
Faraday is reportedly seeking unspecified damages.
*Diddy’s empire is in a little trouble after being told by the court he and Viacom has to come up with $7.5 million.
Bad Boy Records and the media conglomerate have agreed to pay the hefty sum to Lou Pearlman over the series, “Making the Band,” according to reports.
It all started with Trans Continental Television Production founder Pearlman, who starred in the first season of ‘Making the Band,’ when the show was geared at forming the next boy band.
The first two seasons aired on ABC, then transitioned to MTV, where Diddy took over and geared it toward the next Hip Hop group.
After being taken off the project, Pearlman got into some trouble of his own and was convicted of a Ponzi scheme in 2008. His company filed a Chapter 11 bankruptcy.
Just last year, maybe to find a way to recover from the loss, the company filed a lawsuit against Diddy’s company and Viacom, claiming that he was cut out of profits for the final seasons.
“The parties will jointly exploit any features, spin-offs, sequels, made-for-TV movies, direct to video, non-theatrical, radio or other projects based upon the Series [defined as “an untitled Boy Band series for ABC”] or the band, subject to good faith negotiation.”
The settlement cancels a three-week trial that was scheduled to start this month.
*The new cast of NBC’s “Celebrity Apprentice 5″ outed themselves in New York last week as they participated in what appeared to be a sandwich-making competition for the upcoming season, according to the blog Reality Blurred.
Former talk show host Arsenio Hall and “Making the Band” vet Aubrey O’Day are said to be among a cast that includes Victoria Gotti, “Real Housewives of New Jersey” star Teresa Guidice, “American Idol” favorite Clay Aiken, race-car driver Marco Andretti, radio and TV personality Adam Carolla, “Wayne’s World” muse Tia Carrere, former bodybuilder and “Incredible Hulk” star Lou Ferrigno, “Shake Your Love” singer Debbie Gibson, magician Penn Jillette, “American Chopper” dad Paul Teutal, models Cheryl Tiegs and Patricia Velasquez, former Miss Universe Dayana Mendoza, Twisted Sister frontman Dee Snider, foul-mouthed funny lady Lisa Lampanelli and actor George Takei, known worldwide as Sulu from “Star Trek.”
According to an eyewitness report from EW.com, Tiegs and Mendoza descended on New York’s West 52nd Street to lure customers with flyers, while the rest of the female team set up shop at Cafe Metro to serve customers.
The culinary offerings included Giudice’s “Hot-Blooded Housewife Hoagie” (which consisted of Italian meats on Focaccia bread, and carried an eye-popping $100 price tag), and Gibson’s “Teen Dream” grilled-cheese sandwich, which ran for a far more modest $20.
*Laurieann Gibson’s new E! show “The Dance Scene” premiered Sunday night, but not before an extensive Q&A about the series, her role as creative director for Lady Gaga, her gig as an image consultant for Interscope artists and her infamous battle with Sean “Diddy” Combs during her run on “Making the Band.”
Below, her interview with The Hollywood Reporter and clips from her show “The Dance Scene”:
Some of her ascent was chronicled in the 2003 movie Honey, starring Jessica Alba, which was partly inspired by Gibson’s own experiences, but even after working with the biggest names in pop and R&B — including Mary J. Blige, Alicia Keys and Usher, to name a few — it’s safe to say that Gibson’s time is very much now as she prepares for her biggest professional undertaking yet: directing the video to Gaga’s forthcoming single “Judas.” Gibson sat down with THR.
The Hollywood Reporter: You’ve been involved in several reality shows including Making the Band, Skating with the Stars and So You Think You Can Dance, what have those TV experiences taught you?
Laurieann Gibson: When Puff called me and said, ‘I want you to do a show for me and make a girl group,’ I didn’t understand the power of television. I never thought about it as a TV show, I just said, ‘What’s my mission? Make a number one band.’ And that’s what I did. Then after watching [Making the Band], I saw how they spun me and they made me this one-dimensional tyrant. I still didn’t care, but now that I have a show, it’s like a sense of victory because it shows who I really am.
THR: How would you describe your TV self on The Dance Scene?
Gibson: I’m a tough coach, but on the other side of that is me telling them to go all out, “because you’re great, because I don’t want you to fail, because you were born to do this and you have a dream.”
THR: Did you have that kind of support coming up or was your experience more adversarial?
Gibson: It was way more adversarial — devastatingly so at times. It caused a multitude of insecurities. At times, I don’t know how I pulled myself out of it. People were being so mean as a result of my ability — a gift, really. So I think that’s what makes me fight harder to provide an option to aspiring kids or artists. I wouldn’t want anyone to go through what I went through… to see a little girl or a little dancer experience such unnecessary rejection. But I believe in giving back because when it was really dark, my heart made a way for me.
THR: You began working with Gaga before she was signed to Interscope Records, what were your first conversations with her like?
Gibson: In the beginning, it was just me teaching her. I listened to the music and the lyrics, where she breaths and I showed her how to use the microphone, how to look out into the crowd, how to stay in the zone. These are things she had to learn, but she was so fearless.
THR: You’ll be co-directing the video for “Judas,” is it safe to assume that the clip will have a religious theme?
Gibson: It went through several changes and late-night debates because at one point, there were two completely different views and I was like, ‘Listen, I don’t want lightning to strike me! I believe in the gospel and I’m not going there.’ And it was amazing because to have that conversation about salvation, peace and the search for the truth in a room of non-believers and believers, to me, that was saying God is active in a big way. And the place that it came to is surreal. We don’t touch on things that we have no right touching upon, but the inspiration and the soul and idea that out of your oppression, your darkness, your Judas, you can come into the marvelous light. So it’s about the inspiration and to never give up… We’ve created a new Jerusalem.
THR: If the final treatment didn’t sit well with you, would you have walked away from the video?
Gibson: Absolutely. I do believe God inspired and worked on everyone’s heart, but yes. I would have been like, “Good bye, I ain’t doing it. No way.” But the place it came to is really magical. And she’s dancing her face off.
THR: Tell us about your creative director title at Interscope …
Gibson: Artist development is something that I’ve been passionate about from my days at Uptown and Motown Records. Back in the early days like for the Temptations, Supremes and Four Tops, artist development was alive in record companies. Every artist had a moment to develop the record visually. When the web took over and camera phones, it stripped the artists of the power to figure it out. So there’s a need to bridge that gap and that’s my job. [And] I’m getting points, like A&R.
THR: Can you explain how the points deal came about?
Gibson: Because now that you can get records for free, it’s actually the visual producer that’s delivering the brand and maintaining the fanbase. It’s not just the album [artwork], it’s the concert and the entire experience. I basically worked for Gaga for free for a year because it was so much a part of me. It takes a lot. So that’s why we did that deal.
THR: How did you come to know Ryan Seacrest?
Gibson: I was doing Puffy on American Idol – well, I was pretending to be Puffy while working out his staging, and I saw Ryan out of the corner of my eye. He said something like, ‘Wow, you’re a really good Puffy’ and he just watched and understood that there was something different going on with me and the way the artists were responding. So he had E! actually follow me and they began to understand that there was something that went beyond just choreographer and coach. Ryan was just really intrigued and he said, “I think the world needs to see this inspiration.”
THR: There are so many dance shows on TV right now, is dance here to stay or is this a fad not unlike what we experienced in the eighties?
Gibson: I think in the eighties it had a certain texture and power. Saturday Night Fever, Paula Abdul, Fame, Debbie Allen… all affected me and the generation before me. But I think it’s here to stay. You can’t really stop such an amazing art form.