Janice Dickinson at Cosby Trial: ‘Here Was America’s Dad on Top of Me’


Ms. Constand, a former Temple University employee, says Mr. Cosby drugged and sexually assaulted her at his home near here in 2004. Prosecutors introduced the other accounts saying they demonstrate Mr. Cosby’s signature pattern of predatory behavior.

But Mr. Cosby has denied any inappropriate behavior and said the sex with Ms. Constand was consensual. His first trial, last summer, ended with a hung jury.

His defense team made a sustained effort to shake Ms. Dickinson’s credibility, pushing her to acknowledge that a memoir she published in 2002 made no mention of an assault. Reading from the book in the courtroom, Thomas A. Mesereau Jr., a defense lawyer, said that Ms. Dickinson wrote she never entered Mr. Cosby’s room and ended up taking two quaaludes in her own room, alone.

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Mr. Cosby arriving to his trial on Thursday.

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Matt Slocum/Associated Press

“You told a tale to the jury today that is completely different from the book,” he said. “You made things up to get a paycheck.”

But Ms. Dickinson said she had been advised by her publishers to leave out the assault for legal reasons.

“You take poetic license in what you do,” she said. “Today I am on a sworn Bible.”

Four other women have told the jury of being drugged and assaulted by Mr. Cosby.

Ms. Dickinson, now 63, a reality TV celebrity, said she was working as a model in New York in 1982 when Mr. Cosby approached her through her agency and invited her to his Manhattan house to talk about acting.

Soon afterward, she said Mr. Cosby flew her to Lake Tahoe where she watched him perform, and they had dinner and discussed her career. She said she went to his hotel room to continue their conversation, and there she snapped some pictures — which were shown to the courtroom — of Mr. Cosby in a colored bathrobe and cap talking on the telephone.

Ms. Dickinson said that because she was knocked out by the drugs, she does not fully remember the sexual assault. But when she woke up, she said, she found herself back in her own room, alone. “I noticed semen between my legs, and I felt anal pain,” she said. “I felt very, very sore.”

The publisher of Ms. Dickinson’s memoir, Judith Regan, has confirmed there were discussions about putting the rape accusation in the book.

The defense has suggested that Mr. Cosby’s accusers are motivated by media attention and even money. On Thursday, the team carried the argument to the steps of the courthouse, where Mr. Cosby’s publicist, Andrew Wyatt, accused Gloria Allred, the civil rights attorney who is representing three of the five accusers, of being “part of the con.” Ms. Allred’s daughter, Lisa Bloom, represents Ms. Dickinson.

At one point, Mr. Wyatt asked Ms. Allred to explain her proposal to have Mr. Cosby set up a fund to compensate the women who have accused him of abuse.

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Janice Baker-Kinney was questioned by Mr. Cosby’s lawyers about what they contended were discrepancies in her account of being drugged and sexually assaulted by Mr. Cosby.

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Mark Makela/Getty Images

“I’m so glad you asked that,” she shot back, “but you need to listen, and don’t interrupt.”

“I’m not your child,” Mr. Wyatt responded, and walked off.

Ms. Dickinson is one of about a dozen women who have outstanding civil suits against the entertainer, most of which are on hold pending the outcome of this criminal trial. Ms. Dickinson, like most of the other women, is suing him for defamation because she says his representatives characterized her as a liar when she came forward.

In the criminal case, Mr. Cosby’s lawyers have tried to show to the jury that there were holes in each of the women’s accounts. Mr. Mesereau confronted one accuser, Janice Baker-Kinney, on Thursday about what he described as discrepancies between the accounts she had given her sister and later the police and news media.

Ms. Baker-Kinney told the jury on Wednesday that Mr. Cosby drugged and sexually assaulted her in Reno in 1982 after giving her two pills. She was 24 at the time and working as a bartender.

“Is it true that you told your sister,” Mr. Mesereau asked, “you went there and drank too much and didn’t mention the pill?”

Ms. Baker-Kinney said she could not recall what she had told her sister.

But Mary Chokron, a friend, testified she had received a call soon after the encounter and that Ms. Baker-Kinney said she had been knocked unconscious by some kind of party drug. “She blamed herself for taking the pill,” Ms. Chokron said.

Ms. Baker-Kinney, a sports broadcast stage manager who now lives near San Francisco, said she did not speak out at the time because she feared she would be blamed for having put herself in that position and would be fired.

“That was the culture then,” she said, “and was for a very long time.”

Lise-Lotte Lublin, a teacher, told of an encounter with Mr. Cosby in a Las Vegas hotel room in 1989, when she was 23. She said she was there for an acting lesson, that he gave her two drinks and asked her to sit between his legs, and began to stroke her hair. She said she remembered little else. “When I woke up, I was at home,” she said, but she assumes she was sexually assaulted.

“You have no recollection of sexual assault?” Kathleen Bliss, a defense lawyer, asked several times.

“I would not have the memory because I was drugged,” Ms. Lublin replied.

Correction: April 12, 2018

An earlier version of this article misidentified Janice Dickinson’s legal representation. Her lawyer is Lisa Bloom, not Ms. Bloom and her mother, Gloria Allred.

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Critic’s Notebook: Two SoundCloud Rap Outlaws Push Boundaries From the Fringes


In another era, this information might have been enough to derail these artists’ careers before they gained any traction. But hip-hop’s outlaw mythology has always been strong; because of that, among other reasons, the self-cleaning of suspected abusers that has swept through other industries hasn’t yet taken hold in hip-hop.

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XXXTentacion is expected to have next week’s No. 1 album. He recorded it while on house arrest awaiting trial.

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Jack McKain

Also, for an artist to have his career derailed, someone has to say no. But thanks to the fluidity of the streaming ecosystem, the internet moves faster than any gatekeeper, and both XXXTentacion and 6ix9ine (formerly Tekashi69) have found success rapidly. “Look at Me,” XXXTentacion’s breakthrough, went to No. 34 on the Billboard Hot 100, the first of several hits. “Sad!,” from his new album, debuted even higher, at No. 17. 6ix9ine’s debut single “Gummo” went to No. 12, and three subsequent songs have cracked the top 50.

“DAY69,” which was released last month, made its debut at No. 4 on the Billboard album chart, and “?,” released last Friday, is expected to be next week’s No. 1.

So while both of these artists operate under heavy clouds of suspicion and distaste, they are finding wide and dedicated audiences. However, even in spite of some high-profile acknowledgments — both Kendrick Lamar and the Weeknd have posted about XXXTentacion on social media, and Young Thug, Offset and A Boogie Wit Da Hoodie appear on “DAY69” — they haven’t been fully publicly embraced by the music industry. Instead, it is operating in the shadows for both artists: Billboard has reported that XXXTentacion is signed to Caroline, a division of Capitol Music Group, and 6ix9ine is signed to the label of Elliot Grainge, who is the son of Lucian, the chairman and chief executive of Universal Music Group.

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“?” by XXXTentacion.

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This de facto exile has ended up embedded into their creative process, though, pushing these artists to the fringes, where they are less bound by hip-hop’s conventions, or the needs of the music business. As a result, they have both made albums that break from the dominant sound in notable ways.

XXXTentacion, messianic and immature, recorded “?” while on house arrest awaiting trial. It is a chaotic album, ping-ponging between bawdy, punchy rapping and tender, lonely singing — a blend that goes back to his days posting loose tracks on SoundCloud. The best songs here are the most vulnerable, like “before I close my eyes,” on which he croons, “I hope it’s not too late for me,” embedding his public narrative into his creative identity.

Just as the music operates at polar extremes, so does XXXTentacion’s mood. Sometimes he is deeply petulant, like on the sticky “Sad!”; elsewhere, as on “Numb,” he’s self-lacerating. One song, “Hope,” is dedicated to the survivors of the Parkland, Fla., school shooting.

Both he and 6ix9ine engage with rap-rock in a sidelong fashion. XXXTentacion harks back to the late-2000s Warped Tour, when melodic hardcore and screamo began flirting with hip-hop, in terms of cadences and also production textures. 6ix9ine, on the other hand, is often more reminiscent of New York hardcore than New York hip-hop. When he’s at his most rap-adjacent, it’s in the spirit of the early Ruff Ryders era, one of hip-hop’s rowdiest and rawest moments. (He also nods to the fusion of the “Judgment Night” soundtrack and the horrorcore of the mid- to late 1990s — a one-man Family Values tour in the making.)

6ix9ine is a brute-force screamer, and “DAY69” is a rough gauntlet of gun and sex talk, invigorating and also deadening. As a rapper, 6ix9ine is a boxer — he thrives on rasp and repetition, as if constantly looking to pick a fistfight. Occasionally he incorporates a touch of wordplay — “I need all of mine, try to try me and it’s Columbine/Let that Ruger fly, automatic poppin’ at your guys/You gon’ lose a guy, ’tato on the barrel, give ’em fries” on “CHOCOLATÉ” — but mostly he’s landing one jab after the next.

For both artists, songs are short — around a 2:08 average for XXXTentacion (including interludes) and 2:28 for 6ix9ine — because their bursts of energy might not last another 90 seconds, and because there is little infrastructure in place to push them toward more conventional structures. (For what it’s worth, most pop songs are only interesting for about two minutes.) Many of XXXTentacion’s songs don’t feel like much more than demos, experiments that under other circumstances might be thickened up for broader appeal.

And both push back against naming conventions — most of 6ix9ine’s song titles are one word, two syllables, beginning with a consonant and ending with a vowel and most crucially, in all caps, like he is screaming the name of an off-brand Pokémon character (“DOOWEE,” “KOODA,” “MOOKY”). XXXTentacion’s titles vary widely — some short and terse (and also in all caps), some long and sentence-like (but lowercase except for the I’s).

If these artists were being fully embraced, these rough edges might be sanded down, but instead they’re left unchallenged. And as XXXTentacion and 6ix9ine become popular, even in spite of their rejection in some circles, those outlier sonic choices begin to become normalized, and also stand out by comparison to the flattening of their peers’ sounds and identities. Unintentionally, that exclusion might be creating the circumstances for these artists to not only thrive themselves, but to become the ones influencing the shape of the genre for years to come.

Correction: March 21, 2018
An earlier version of this article referred incorrectly to the relationship between rapper 6ix9ine and Elliot Grainge. 6ix9ine is signed to Mr. Grainge’s label, he is not managed by him.

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