Podcasts about love records

In the lawsuit filed by Rodney "Lil Rod" Jones against Diddy and associated entities, Universal Music Group (UMG) and its representatives, including Martha Brathwaite, have made significant moves to distance the label from the allegations. Jones accuses Diddy of various forms of misconduct, including an alleged shooting incident at a 2022 writing camp. In response, UMG's legal team, supported by Brathwaite's declaration, asserts that UMG and Motown Records were not responsible for organizing or providing security for the camp where the alleged shooting took place.Brathwaite's declaration clarifies that Diddy's Love Records, not UMG or Motown, oversaw and financed the camp, arguing that UMG should not be held accountable for any security failures or incidents that occurred. The label's legal filings aim to have UMG dismissed from the case, contending that Jones is inappropriately attempting to involve the label despite its lack of operational control or direct involvement in the events under dispute.Additionally, the legal strategy seeks to prevent the lawsuit from being amended further, with UMG lawyers arguing that any additional claims would be futile. The case exemplifies how UMG and other corporate entities named in the lawsuit are seeking to limit their exposure and sever any implied connections to Diddy's alleged misconduct during these events. This legal push reflects the complexities of liability when artists manage multiple companies across overlapping spheres.(commercial at 8:36)to contact me:bobbycapucci@protonmail.com

In the lawsuit filed by Rodney "Lil Rod" Jones against Diddy and associated entities, Universal Music Group (UMG) and its representatives, including Martha Brathwaite, have made significant moves to distance the label from the allegations. Jones accuses Diddy of various forms of misconduct, including an alleged shooting incident at a 2022 writing camp. In response, UMG's legal team, supported by Brathwaite's declaration, asserts that UMG and Motown Records were not responsible for organizing or providing security for the camp where the alleged shooting took place.Brathwaite's declaration clarifies that Diddy's Love Records, not UMG or Motown, oversaw and financed the camp, arguing that UMG should not be held accountable for any security failures or incidents that occurred. The label's legal filings aim to have UMG dismissed from the case, contending that Jones is inappropriately attempting to involve the label despite its lack of operational control or direct involvement in the events under dispute.Additionally, the legal strategy seeks to prevent the lawsuit from being amended further, with UMG lawyers arguing that any additional claims would be futile. The case exemplifies how UMG and other corporate entities named in the lawsuit are seeking to limit their exposure and sever any implied connections to Diddy's alleged misconduct during these events. This legal push reflects the complexities of liability when artists manage multiple companies across overlapping spheres.(commercial at 8:36)to contact me:bobbycapucci@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

The case of Jones v. Combs (1:24-cv-01457) involves a complex series of allegations against Sean "Diddy" Combs and multiple associated parties, including Universal Music Group and Love Records. The opposition to Combs' motion to dismiss centers on serious allegations of misconduct, with the plaintiff, Rodney Jones, asserting claims under the Racketeer Influenced and Corrupt Organizations (RICO) Act. The request for judicial notice of Combs' federal indictment ties into broader accusations, including sex trafficking and racketeering, which have gained significant attention in a separate federal case.This particular filing challenges Combs' legal team's attempt to dismiss the case by bringing forward evidence that links the civil case to Combs' criminal indictment, arguing that the indictment supports the plaintiff's claims of exploitation and manipulation over a prolonged period. The opposition excludes Justin Dior Combs but includes other significant figures and corporations, with the plaintiff seeking to ensure the court acknowledges the federal charges in the ongoing civil proceedings.The case has seen numerous legal maneuvers, including motions for sanctions and attempts to amend complaints, reflecting the high-stakes nature of the litigation and the complexity of the issues at hand​.(commercial at 7:02)to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.78.0.pdf (courtlistener.com)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.

The case of Jones v. Combs (1:24-cv-01457) involves a complex series of allegations against Sean "Diddy" Combs and multiple associated parties, including Universal Music Group and Love Records. The opposition to Combs' motion to dismiss centers on serious allegations of misconduct, with the plaintiff, Rodney Jones, asserting claims under the Racketeer Influenced and Corrupt Organizations (RICO) Act. The request for judicial notice of Combs' federal indictment ties into broader accusations, including sex trafficking and racketeering, which have gained significant attention in a separate federal case.This particular filing challenges Combs' legal team's attempt to dismiss the case by bringing forward evidence that links the civil case to Combs' criminal indictment, arguing that the indictment supports the plaintiff's claims of exploitation and manipulation over a prolonged period. The opposition excludes Justin Dior Combs but includes other significant figures and corporations, with the plaintiff seeking to ensure the court acknowledges the federal charges in the ongoing civil proceedings.The case has seen numerous legal maneuvers, including motions for sanctions and attempts to amend complaints, reflecting the high-stakes nature of the litigation and the complexity of the issues at hand​.to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.78.0.pdf (courtlistener.com)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

In the lawsuit filed by Rodney "Lil Rod" Jones against Diddy and associated entities, Universal Music Group (UMG) and its representatives, including Martha Brathwaite, have made significant moves to distance the label from the allegations. Jones accuses Diddy of various forms of misconduct, including an alleged shooting incident at a 2022 writing camp. In response, UMG's legal team, supported by Brathwaite's declaration, asserts that UMG and Motown Records were not responsible for organizing or providing security for the camp where the alleged shooting took place.Brathwaite's declaration clarifies that Diddy's Love Records, not UMG or Motown, oversaw and financed the camp, arguing that UMG should not be held accountable for any security failures or incidents that occurred. The label's legal filings aim to have UMG dismissed from the case, contending that Jones is inappropriately attempting to involve the label despite its lack of operational control or direct involvement in the events under dispute.Additionally, the legal strategy seeks to prevent the lawsuit from being amended further, with UMG lawyers arguing that any additional claims would be futile. The case exemplifies how UMG and other corporate entities named in the lawsuit are seeking to limit their exposure and sever any implied connections to Diddy's alleged misconduct during these events. This legal push reflects the complexities of liability when artists manage multiple companies across overlapping spheres.(commercial at 9:05)to contact me:bobbycapucci@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

In the March 2025 Opinion and Order for case Rodney Jones v. Sean Combs et al. (24-CV-1457), Judge J. Paul Oetken ruled on motions to dismiss brought by Sean Combs and several co-defendants. While five of Jones's seventeen claims were dismissed—including claims under the Trafficking Victims Protection Act (TVPA) and Racketeer Influenced and Corrupt Organizations Act (RICO) against Combs Global and Love Records—multiple key allegations were allowed to proceed. These surviving claims include sexual assault, battery, intentional infliction of emotional distress, and premises liability against Sean Combs, Kristina Khorram, Justin Combs, Cuba Gooding Jr., and Jane Doe 1 (allegedly “Yung Miami's cousin”). The court found that many of Jones's accusations, including being drugged, sexually assaulted, and trafficked across state and international lines, were sufficiently detailed to survive the defendants' efforts to have the case dismissed entirely.The ruling outlines severe and graphic allegations, including incidents where Jones claims he was sexually assaulted, manipulated, and trafficked while working closely with Sean Combs between 2022 and 2023. Jones alleges Combs used power and influence in the music industry to coerce him into unwanted sexual activity, promising professional success in return. The complaint details incidents in Los Angeles, Miami, New York, the US Virgin Islands, and Saint-Barthélemy, including claims of being drugged, groped, and assaulted by Combs and others in his circle. The court emphasized that while some claims lacked sufficient legal basis or specificity, the core allegations—particularly those describing direct physical and psychological abuse—were compelling enough to proceed to discovery and potentially trial.to contact me:bobbycapucci@protonmail.comsource:24cv1457 Jones v Combs MTD Opn.pdfBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

In the March 2025 Opinion and Order for case Rodney Jones v. Sean Combs et al. (24-CV-1457), Judge J. Paul Oetken ruled on motions to dismiss brought by Sean Combs and several co-defendants. While five of Jones's seventeen claims were dismissed—including claims under the Trafficking Victims Protection Act (TVPA) and Racketeer Influenced and Corrupt Organizations Act (RICO) against Combs Global and Love Records—multiple key allegations were allowed to proceed. These surviving claims include sexual assault, battery, intentional infliction of emotional distress, and premises liability against Sean Combs, Kristina Khorram, Justin Combs, Cuba Gooding Jr., and Jane Doe 1 (allegedly “Yung Miami's cousin”). The court found that many of Jones's accusations, including being drugged, sexually assaulted, and trafficked across state and international lines, were sufficiently detailed to survive the defendants' efforts to have the case dismissed entirely.The ruling outlines severe and graphic allegations, including incidents where Jones claims he was sexually assaulted, manipulated, and trafficked while working closely with Sean Combs between 2022 and 2023. Jones alleges Combs used power and influence in the music industry to coerce him into unwanted sexual activity, promising professional success in return. The complaint details incidents in Los Angeles, Miami, New York, the US Virgin Islands, and Saint-Barthélemy, including claims of being drugged, groped, and assaulted by Combs and others in his circle. The court emphasized that while some claims lacked sufficient legal basis or specificity, the core allegations—particularly those describing direct physical and psychological abuse—were compelling enough to proceed to discovery and potentially trial.to contact me:bobbycapucci@protonmail.comsource:24cv1457 Jones v Combs MTD Opn.pdfBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

In the March 2025 Opinion and Order for case Rodney Jones v. Sean Combs et al. (24-CV-1457), Judge J. Paul Oetken ruled on motions to dismiss brought by Sean Combs and several co-defendants. While five of Jones's seventeen claims were dismissed—including claims under the Trafficking Victims Protection Act (TVPA) and Racketeer Influenced and Corrupt Organizations Act (RICO) against Combs Global and Love Records—multiple key allegations were allowed to proceed. These surviving claims include sexual assault, battery, intentional infliction of emotional distress, and premises liability against Sean Combs, Kristina Khorram, Justin Combs, Cuba Gooding Jr., and Jane Doe 1 (allegedly “Yung Miami's cousin”). The court found that many of Jones's accusations, including being drugged, sexually assaulted, and trafficked across state and international lines, were sufficiently detailed to survive the defendants' efforts to have the case dismissed entirely.The ruling outlines severe and graphic allegations, including incidents where Jones claims he was sexually assaulted, manipulated, and trafficked while working closely with Sean Combs between 2022 and 2023. Jones alleges Combs used power and influence in the music industry to coerce him into unwanted sexual activity, promising professional success in return. The complaint details incidents in Los Angeles, Miami, New York, the US Virgin Islands, and Saint-Barthélemy, including claims of being drugged, groped, and assaulted by Combs and others in his circle. The court emphasized that while some claims lacked sufficient legal basis or specificity, the core allegations—particularly those describing direct physical and psychological abuse—were compelling enough to proceed to discovery and potentially trial.to contact me:bobbycapucci@protonmail.comsource:24cv1457 Jones v Combs MTD Opn.pdfBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

In the March 2025 Opinion and Order for case Rodney Jones v. Sean Combs et al. (24-CV-1457), Judge J. Paul Oetken ruled on motions to dismiss brought by Sean Combs and several co-defendants. While five of Jones's seventeen claims were dismissed—including claims under the Trafficking Victims Protection Act (TVPA) and Racketeer Influenced and Corrupt Organizations Act (RICO) against Combs Global and Love Records—multiple key allegations were allowed to proceed. These surviving claims include sexual assault, battery, intentional infliction of emotional distress, and premises liability against Sean Combs, Kristina Khorram, Justin Combs, Cuba Gooding Jr., and Jane Doe 1 (allegedly “Yung Miami's cousin”). The court found that many of Jones's accusations, including being drugged, sexually assaulted, and trafficked across state and international lines, were sufficiently detailed to survive the defendants' efforts to have the case dismissed entirely.The ruling outlines severe and graphic allegations, including incidents where Jones claims he was sexually assaulted, manipulated, and trafficked while working closely with Sean Combs between 2022 and 2023. Jones alleges Combs used power and influence in the music industry to coerce him into unwanted sexual activity, promising professional success in return. The complaint details incidents in Los Angeles, Miami, New York, the US Virgin Islands, and Saint-Barthélemy, including claims of being drugged, groped, and assaulted by Combs and others in his circle. The court emphasized that while some claims lacked sufficient legal basis or specificity, the core allegations—particularly those describing direct physical and psychological abuse—were compelling enough to proceed to discovery and potentially trial.to contact me:bobbycapucci@protonmail.comsource:24cv1457 Jones v Combs MTD Opn.pdfBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

In the March 2025 Opinion and Order for case Rodney Jones v. Sean Combs et al. (24-CV-1457), Judge J. Paul Oetken ruled on motions to dismiss brought by Sean Combs and several co-defendants. While five of Jones's seventeen claims were dismissed—including claims under the Trafficking Victims Protection Act (TVPA) and Racketeer Influenced and Corrupt Organizations Act (RICO) against Combs Global and Love Records—multiple key allegations were allowed to proceed. These surviving claims include sexual assault, battery, intentional infliction of emotional distress, and premises liability against Sean Combs, Kristina Khorram, Justin Combs, Cuba Gooding Jr., and Jane Doe 1 (allegedly “Yung Miami's cousin”). The court found that many of Jones's accusations, including being drugged, sexually assaulted, and trafficked across state and international lines, were sufficiently detailed to survive the defendants' efforts to have the case dismissed entirely.The ruling outlines severe and graphic allegations, including incidents where Jones claims he was sexually assaulted, manipulated, and trafficked while working closely with Sean Combs between 2022 and 2023. Jones alleges Combs used power and influence in the music industry to coerce him into unwanted sexual activity, promising professional success in return. The complaint details incidents in Los Angeles, Miami, New York, the US Virgin Islands, and Saint-Barthélemy, including claims of being drugged, groped, and assaulted by Combs and others in his circle. The court emphasized that while some claims lacked sufficient legal basis or specificity, the core allegations—particularly those describing direct physical and psychological abuse—were compelling enough to proceed to discovery and potentially trial.to contact me:bobbycapucci@protonmail.comsource:24cv1457 Jones v Combs MTD Opn.pdfBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

In the March 2025 Opinion and Order for case Rodney Jones v. Sean Combs et al. (24-CV-1457), Judge J. Paul Oetken ruled on motions to dismiss brought by Sean Combs and several co-defendants. While five of Jones's seventeen claims were dismissed—including claims under the Trafficking Victims Protection Act (TVPA) and Racketeer Influenced and Corrupt Organizations Act (RICO) against Combs Global and Love Records—multiple key allegations were allowed to proceed. These surviving claims include sexual assault, battery, intentional infliction of emotional distress, and premises liability against Sean Combs, Kristina Khorram, Justin Combs, Cuba Gooding Jr., and Jane Doe 1 (allegedly “Yung Miami's cousin”). The court found that many of Jones's accusations, including being drugged, sexually assaulted, and trafficked across state and international lines, were sufficiently detailed to survive the defendants' efforts to have the case dismissed entirely.The ruling outlines severe and graphic allegations, including incidents where Jones claims he was sexually assaulted, manipulated, and trafficked while working closely with Sean Combs between 2022 and 2023. Jones alleges Combs used power and influence in the music industry to coerce him into unwanted sexual activity, promising professional success in return. The complaint details incidents in Los Angeles, Miami, New York, the US Virgin Islands, and Saint-Barthélemy, including claims of being drugged, groped, and assaulted by Combs and others in his circle. The court emphasized that while some claims lacked sufficient legal basis or specificity, the core allegations—particularly those describing direct physical and psychological abuse—were compelling enough to proceed to discovery and potentially trial.to contact me:bobbycapucci@protonmail.comsource:24cv1457 Jones v Combs MTD Opn.pdf

In the March 2025 Opinion and Order for case Rodney Jones v. Sean Combs et al. (24-CV-1457), Judge J. Paul Oetken ruled on motions to dismiss brought by Sean Combs and several co-defendants. While five of Jones's seventeen claims were dismissed—including claims under the Trafficking Victims Protection Act (TVPA) and Racketeer Influenced and Corrupt Organizations Act (RICO) against Combs Global and Love Records—multiple key allegations were allowed to proceed. These surviving claims include sexual assault, battery, intentional infliction of emotional distress, and premises liability against Sean Combs, Kristina Khorram, Justin Combs, Cuba Gooding Jr., and Jane Doe 1 (allegedly “Yung Miami's cousin”). The court found that many of Jones's accusations, including being drugged, sexually assaulted, and trafficked across state and international lines, were sufficiently detailed to survive the defendants' efforts to have the case dismissed entirely.The ruling outlines severe and graphic allegations, including incidents where Jones claims he was sexually assaulted, manipulated, and trafficked while working closely with Sean Combs between 2022 and 2023. Jones alleges Combs used power and influence in the music industry to coerce him into unwanted sexual activity, promising professional success in return. The complaint details incidents in Los Angeles, Miami, New York, the US Virgin Islands, and Saint-Barthélemy, including claims of being drugged, groped, and assaulted by Combs and others in his circle. The court emphasized that while some claims lacked sufficient legal basis or specificity, the core allegations—particularly those describing direct physical and psychological abuse—were compelling enough to proceed to discovery and potentially trial.to contact me:bobbycapucci@protonmail.comsource:24cv1457 Jones v Combs MTD Opn.pdf

In the March 2025 Opinion and Order for case Rodney Jones v. Sean Combs et al. (24-CV-1457), Judge J. Paul Oetken ruled on motions to dismiss brought by Sean Combs and several co-defendants. While five of Jones's seventeen claims were dismissed—including claims under the Trafficking Victims Protection Act (TVPA) and Racketeer Influenced and Corrupt Organizations Act (RICO) against Combs Global and Love Records—multiple key allegations were allowed to proceed. These surviving claims include sexual assault, battery, intentional infliction of emotional distress, and premises liability against Sean Combs, Kristina Khorram, Justin Combs, Cuba Gooding Jr., and Jane Doe 1 (allegedly “Yung Miami's cousin”). The court found that many of Jones's accusations, including being drugged, sexually assaulted, and trafficked across state and international lines, were sufficiently detailed to survive the defendants' efforts to have the case dismissed entirely.The ruling outlines severe and graphic allegations, including incidents where Jones claims he was sexually assaulted, manipulated, and trafficked while working closely with Sean Combs between 2022 and 2023. Jones alleges Combs used power and influence in the music industry to coerce him into unwanted sexual activity, promising professional success in return. The complaint details incidents in Los Angeles, Miami, New York, the US Virgin Islands, and Saint-Barthélemy, including claims of being drugged, groped, and assaulted by Combs and others in his circle. The court emphasized that while some claims lacked sufficient legal basis or specificity, the core allegations—particularly those describing direct physical and psychological abuse—were compelling enough to proceed to discovery and potentially trial.to contact me:bobbycapucci@protonmail.comsource:24cv1457 Jones v Combs MTD Opn.pdf

In the March 2025 Opinion and Order for case Rodney Jones v. Sean Combs et al. (24-CV-1457), Judge J. Paul Oetken ruled on motions to dismiss brought by Sean Combs and several co-defendants. While five of Jones's seventeen claims were dismissed—including claims under the Trafficking Victims Protection Act (TVPA) and Racketeer Influenced and Corrupt Organizations Act (RICO) against Combs Global and Love Records—multiple key allegations were allowed to proceed. These surviving claims include sexual assault, battery, intentional infliction of emotional distress, and premises liability against Sean Combs, Kristina Khorram, Justin Combs, Cuba Gooding Jr., and Jane Doe 1 (allegedly “Yung Miami's cousin”). The court found that many of Jones's accusations, including being drugged, sexually assaulted, and trafficked across state and international lines, were sufficiently detailed to survive the defendants' efforts to have the case dismissed entirely.The ruling outlines severe and graphic allegations, including incidents where Jones claims he was sexually assaulted, manipulated, and trafficked while working closely with Sean Combs between 2022 and 2023. Jones alleges Combs used power and influence in the music industry to coerce him into unwanted sexual activity, promising professional success in return. The complaint details incidents in Los Angeles, Miami, New York, the US Virgin Islands, and Saint-Barthélemy, including claims of being drugged, groped, and assaulted by Combs and others in his circle. The court emphasized that while some claims lacked sufficient legal basis or specificity, the core allegations—particularly those describing direct physical and psychological abuse—were compelling enough to proceed to discovery and potentially trial.to contact me:bobbycapucci@protonmail.comsource:24cv1457 Jones v Combs MTD Opn.pdf

In the March 2025 Opinion and Order for case Rodney Jones v. Sean Combs et al. (24-CV-1457), Judge J. Paul Oetken ruled on motions to dismiss brought by Sean Combs and several co-defendants. While five of Jones's seventeen claims were dismissed—including claims under the Trafficking Victims Protection Act (TVPA) and Racketeer Influenced and Corrupt Organizations Act (RICO) against Combs Global and Love Records—multiple key allegations were allowed to proceed. These surviving claims include sexual assault, battery, intentional infliction of emotional distress, and premises liability against Sean Combs, Kristina Khorram, Justin Combs, Cuba Gooding Jr., and Jane Doe 1 (allegedly “Yung Miami's cousin”). The court found that many of Jones's accusations, including being drugged, sexually assaulted, and trafficked across state and international lines, were sufficiently detailed to survive the defendants' efforts to have the case dismissed entirely.The ruling outlines severe and graphic allegations, including incidents where Jones claims he was sexually assaulted, manipulated, and trafficked while working closely with Sean Combs between 2022 and 2023. Jones alleges Combs used power and influence in the music industry to coerce him into unwanted sexual activity, promising professional success in return. The complaint details incidents in Los Angeles, Miami, New York, the US Virgin Islands, and Saint-Barthélemy, including claims of being drugged, groped, and assaulted by Combs and others in his circle. The court emphasized that while some claims lacked sufficient legal basis or specificity, the core allegations—particularly those describing direct physical and psychological abuse—were compelling enough to proceed to discovery and potentially trial.to contact me:bobbycapucci@protonmail.comsource:24cv1457 Jones v Combs MTD Opn.pdf

The case of Jones v. Combs (1:24-cv-01457) involves a complex series of allegations against Sean "Diddy" Combs and multiple associated parties, including Universal Music Group and Love Records. The opposition to Combs' motion to dismiss centers on serious allegations of misconduct, with the plaintiff, Rodney Jones, asserting claims under the Racketeer Influenced and Corrupt Organizations (RICO) Act. The request for judicial notice of Combs' federal indictment ties into broader accusations, including sex trafficking and racketeering, which have gained significant attention in a separate federal case.This particular filing challenges Combs' legal team's attempt to dismiss the case by bringing forward evidence that links the civil case to Combs' criminal indictment, arguing that the indictment supports the plaintiff's claims of exploitation and manipulation over a prolonged period. The opposition excludes Justin Dior Combs but includes other significant figures and corporations, with the plaintiff seeking to ensure the court acknowledges the federal charges in the ongoing civil proceedings.The case has seen numerous legal maneuvers, including motions for sanctions and attempts to amend complaints, reflecting the high-stakes nature of the litigation and the complexity of the issues at hand​.(commercial at 7:02)to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.78.0.pdf (courtlistener.com)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

The case of Jones v. Combs (1:24-cv-01457) involves a complex series of allegations against Sean "Diddy" Combs and multiple associated parties, including Universal Music Group and Love Records. The opposition to Combs' motion to dismiss centers on serious allegations of misconduct, with the plaintiff, Rodney Jones, asserting claims under the Racketeer Influenced and Corrupt Organizations (RICO) Act. The request for judicial notice of Combs' federal indictment ties into broader accusations, including sex trafficking and racketeering, which have gained significant attention in a separate federal case.This particular filing challenges Combs' legal team's attempt to dismiss the case by bringing forward evidence that links the civil case to Combs' criminal indictment, arguing that the indictment supports the plaintiff's claims of exploitation and manipulation over a prolonged period. The opposition excludes Justin Dior Combs but includes other significant figures and corporations, with the plaintiff seeking to ensure the court acknowledges the federal charges in the ongoing civil proceedings.The case has seen numerous legal maneuvers, including motions for sanctions and attempts to amend complaints, reflecting the high-stakes nature of the litigation and the complexity of the issues at hand​.(commercial at 7:02)to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.78.0.pdf (courtlistener.com)

The case of Jones v. Combs (1:24-cv-01457) involves a complex series of allegations against Sean "Diddy" Combs and multiple associated parties, including Universal Music Group and Love Records. The opposition to Combs' motion to dismiss centers on serious allegations of misconduct, with the plaintiff, Rodney Jones, asserting claims under the Racketeer Influenced and Corrupt Organizations (RICO) Act. The request for judicial notice of Combs' federal indictment ties into broader accusations, including sex trafficking and racketeering, which have gained significant attention in a separate federal case.This particular filing challenges Combs' legal team's attempt to dismiss the case by bringing forward evidence that links the civil case to Combs' criminal indictment, arguing that the indictment supports the plaintiff's claims of exploitation and manipulation over a prolonged period. The opposition excludes Justin Dior Combs but includes other significant figures and corporations, with the plaintiff seeking to ensure the court acknowledges the federal charges in the ongoing civil proceedings.The case has seen numerous legal maneuvers, including motions for sanctions and attempts to amend complaints, reflecting the high-stakes nature of the litigation and the complexity of the issues at hand​.(commercial at 7:02)to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.78.0.pdf (courtlistener.com)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

Ashley Parham's lawsuit against Sean "Diddy" Combs contains shocking accusations of sexual assault and physical violence. Parham claims that in 2018, after making a comment accusing Diddy of being involved in Tupac Shakur's murder, she became a target of his retaliation. According to the lawsuit, Diddy threatened her and eventually lured her to a private residence, where he allegedly assaulted her physically and sexually. Parham states that he held a knife to her face, threatened her with a "Glasgow smile," and humiliated her in front of others.Further details in the lawsuit describe how Diddy, along with his associates, sexually assaulted Parham using various objects, all while threatening her life. She recounts waking up from the ordeal, grabbing a knife, and confronting Diddy in a desperate attempt to escape. Parham alleges that Diddy begged for his life during the confrontation and that she narrowly escaped after grazing him with the knife. Despite reporting the assault to local police, Parham claims that no investigation was opened, intensifying her allegations against Diddy and his associates.(commercial at 12:47)to contact me:bobbycapucci@protonmail.comsource:Diddy is accused of raping woman as 'payback' for claiming he ordered Tupac's murder | Daily Mail OnlineIn the lawsuit filed by Rodney "Lil Rod" Jones against Diddy and associated entities, Universal Music Group (UMG) and its representatives, including Martha Brathwaite, have made significant moves to distance the label from the allegations. Jones accuses Diddy of various forms of misconduct, including an alleged shooting incident at a 2022 writing camp. In response, UMG's legal team, supported by Brathwaite's declaration, asserts that UMG and Motown Records were not responsible for organizing or providing security for the camp where the alleged shooting took place.Brathwaite's declaration clarifies that Diddy's Love Records, not UMG or Motown, oversaw and financed the camp, arguing that UMG should not be held accountable for any security failures or incidents that occurred. The label's legal filings aim to have UMG dismissed from the case, contending that Jones is inappropriately attempting to involve the label despite its lack of operational control or direct involvement in the events under dispute.Additionally, the legal strategy seeks to prevent the lawsuit from being amended further, with UMG lawyers arguing that any additional claims would be futile. The case exemplifies how UMG and other corporate entities named in the lawsuit are seeking to limit their exposure and sever any implied connections to Diddy's alleged misconduct during these events. This legal push reflects the complexities of liability when artists manage multiple companies across overlapping spheres.(commercial at 9:05)to contact me:bobbycapucci@protonmail.com

Ashley Parham's lawsuit against Sean "Diddy" Combs contains shocking accusations of sexual assault and physical violence. Parham claims that in 2018, after making a comment accusing Diddy of being involved in Tupac Shakur's murder, she became a target of his retaliation. According to the lawsuit, Diddy threatened her and eventually lured her to a private residence, where he allegedly assaulted her physically and sexually. Parham states that he held a knife to her face, threatened her with a "Glasgow smile," and humiliated her in front of others.Further details in the lawsuit describe how Diddy, along with his associates, sexually assaulted Parham using various objects, all while threatening her life. She recounts waking up from the ordeal, grabbing a knife, and confronting Diddy in a desperate attempt to escape. Parham alleges that Diddy begged for his life during the confrontation and that she narrowly escaped after grazing him with the knife. Despite reporting the assault to local police, Parham claims that no investigation was opened, intensifying her allegations against Diddy and his associates.(commercial at 16:10)to contact me:bobbycapucci@protonmail.comsource:Diddy is accused of raping woman as 'payback' for claiming he ordered Tupac's murder | Daily Mail OnlineIn the lawsuit filed by Rodney "Lil Rod" Jones against Diddy and associated entities, Universal Music Group (UMG) and its representatives, including Martha Brathwaite, have made significant moves to distance the label from the allegations. Jones accuses Diddy of various forms of misconduct, including an alleged shooting incident at a 2022 writing camp. In response, UMG's legal team, supported by Brathwaite's declaration, asserts that UMG and Motown Records were not responsible for organizing or providing security for the camp where the alleged shooting took place.Brathwaite's declaration clarifies that Diddy's Love Records, not UMG or Motown, oversaw and financed the camp, arguing that UMG should not be held accountable for any security failures or incidents that occurred. The label's legal filings aim to have UMG dismissed from the case, contending that Jones is inappropriately attempting to involve the label despite its lack of operational control or direct involvement in the events under dispute.Additionally, the legal strategy seeks to prevent the lawsuit from being amended further, with UMG lawyers arguing that any additional claims would be futile. The case exemplifies how UMG and other corporate entities named in the lawsuit are seeking to limit their exposure and sever any implied connections to Diddy's alleged misconduct during these events. This legal push reflects the complexities of liability when artists manage multiple companies across overlapping spheres.(commercial at 9:05)to contact me:bobbycapucci@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

The case of Jones v. Combs (1:24-cv-01457) involves a complex series of allegations against Sean "Diddy" Combs and multiple associated parties, including Universal Music Group and Love Records. The opposition to Combs' motion to dismiss centers on serious allegations of misconduct, with the plaintiff, Rodney Jones, asserting claims under the Racketeer Influenced and Corrupt Organizations (RICO) Act. The request for judicial notice of Combs' federal indictment ties into broader accusations, including sex trafficking and racketeering, which have gained significant attention in a separate federal case.This particular filing challenges Combs' legal team's attempt to dismiss the case by bringing forward evidence that links the civil case to Combs' criminal indictment, arguing that the indictment supports the plaintiff's claims of exploitation and manipulation over a prolonged period. The opposition excludes Justin Dior Combs but includes other significant figures and corporations, with the plaintiff seeking to ensure the court acknowledges the federal charges in the ongoing civil proceedings.The case has seen numerous legal maneuvers, including motions for sanctions and attempts to amend complaints, reflecting the high-stakes nature of the litigation and the complexity of the issues at hand​.(commercial at 7:02)to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.78.0.pdf (courtlistener.com)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

We are back this time with our theme of pop Culture Crimes.  JT discusses P Diddy.  SourcesBiography.com - Detailed overview of Sean Combs' career, early life, and business ventures.Sean Combs BiographyWikipedia - Comprehensive details on his life, music career, and controversies.Sean Combs - WikipediaBritannica - An in-depth look at Combs' business success and cultural impact.Sean Combs | American rapper, entrepreneur, and producer | BritannicaBillboard - Articles on Combs' legal issues and musical accomplishments.Sean Combs on BillboardNew York Times - News articles and court case coverage of Combs' legal issues.Sean Combs | The New York TimesRolling Stone - Focus on his influence on hip-hop and controversies.Sean Combs on Rolling StoneAshley Parham v. SEAN COMBS a/k/a “P. Diddy,” “Puff Daddy,” “Love,” “Puffy” and “Diddy,” Kristina Khorram, Shane Pearce, John Does 1-3 and Jane Doe, (UNITED STATES DISTRICT COURT FOR THE NORTHERN DISTRICT OF CALIFORNIA October 15, 2024). DAWN ANGELIQUE RICHARD, Plaintiff, v. SEAN COMBS, HARVE PIERRE, REMOTE PRODUCTIONS INC, NEW REMOTE PRODUCTIONS INC, THE NORDLINGER GROUP LLC, NOVEMBER 15 LLC, DADDY'S HOUSE RECORDING STUDIO, BAD BOY ENTERTAINMENT LLC, BAD BOY RECORDS LLC, BAD BOY ENTERTAINMENT HOLDINGS INC, BAD BOY PRODUCTIONS HOLDINGS INC, BAD BOY BOOKS HOLDINGS INC, THE SEAN COMB MUSIC INC, SEAN COMBS CAPITAL LLC, COMBS ENTERPRISES, LLC, UNIVERSAL MUSIC GROUP NV, INTERSCOPE GEFFEN A&M RECORDS, DIAGEO AMERICAS SUPPLY INC D/B/A CIROC DISTILLING COMPANY D/B/A CIROC CANNING CO, COMBS WINES AND SPIRITS LLC, JANICE COMBS PUBLISHING INC, JANICE COMBS PUBLISHING HOLDINGS INC, SONY SONGS, a division of SONY MUSIC PUBLISHING LLC, LOVE RECORDS INC, EPIC RECORDS, DOE CORPORATIONS 1-10, AND DOE DEFENDANTS 11-20 (UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK September 10, 2024).John Doe v. SEAN COMBS, DADDY'S HOUSE RECORDINGS INC., CE OPCO, LLC d/b/a COMBS GLOBAL f/k/a COMBS ENTERPRISES LLC, BAD BOY ENTERTAINMENT HOLDINGS, INC., BAD BOY PRODUCTIONS HOLDINGS, INC., BAD BOY BOOKS HOLDINGS, INC., BAD BOY RECORDS LLC, BAD BOY ENTERTAINMENT LLC, BAD BOY PRODUCTIONS LLC, AND ORGANIZATIONAL DOES 1-10, Defendants (UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK October 14, 2024).RODNEY JONES,  Plaintiff,  v. SEAN COMBS, JUSTIN DIOR COMBS, ETHIOPIA HABTEMARIAM, LUCIAN CHARLES GRAINGE, KRISTINA KHORRAM, CHALICE RECORDING STUDIOS, LOVE RECORDS, MOTOWN RECORDS, UNIVERSAL MUSIC GROUP, COMBS GLOBAL ENTERPRISES, JOHN and JANE DOES 1-10 and ABC CORPORATIONS. 1-10 (UNITED STATES FEDERAL COURT SOUTHERN DISTRICT OF NEW YORK February 26, 2024).Thalia Graves Plaintiff v. SEAN COMBS, JOSEPH SHERMAN, DADDY'S HOUSE RECORDINGS INC., CE OPCO, LLC d/b/a COMBS GLOBAL f/k/a COMBS ENTERPRISES LLC, BAD BOY ENTERTAINMENT HOLDINGS, INC., BAD BOY PRODUCTIONS HOLDINGS, INC., BAD BOY BOOKS HOLDINGS, INC., BAD BOY RECORDS LLC, BAD BOY ENTERTAINMENT LLC, BAD BOY PRODUCTIONS LLC, AND ORGANIZATIONAL DOES 1-10, Defendants. (UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK September 24, 2024).UNITED STATES OF AMERICA V. SEAN COMBS, a/k/a “Puff Daddy,” a/k/a “P. Diddy,” a/k/a “Diddy,” a/k/a “PD,” a/k/a “Love” (Justice.gov). Brew CrimeWebsite, Twitter, Instagram, Facebook, Facebook Group, Youtube, patreon, Supporter

In Jones v. Combs et al. (Civil Action No. 24-cv-01457), defendants Sean Combs, Love Records, and Combs Global Enterprises have filed a Reply Memorandum to support their motion to dismiss the Second Amended Complaint. They argue that the plaintiff, Rodney Jones, fails to provide sufficient evidence to establish plausible claims. The defendants contend that the allegations are speculative, lack necessary detail, and do not meet federal pleading standards. They also argue that some claims are time-barred and that Jones has not shown any fraudulent concealment to toll the statute of limitations.The defendants further assert that the RICO claims are unfounded, as the complaint lacks evidence of an enterprise or a pattern of racketeering activity—both of which are essential elements for a RICO claim. They maintain that Jones's allegations are based on broad conclusions rather than concrete facts and lack a clear link to any harm suffered. In conclusion, they request the complete dismissal of the Second Amended Complaint and have asked for oral argument on the motion.(commercial at 8:26)to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.83.0.pdf (courtlistener.com)

In Jones v. Combs et al. (Civil Action No. 24-cv-01457), defendants Sean Combs, Love Records, and Combs Global Enterprises have filed a Reply Memorandum to support their motion to dismiss the Second Amended Complaint. They argue that the plaintiff, Rodney Jones, fails to provide sufficient evidence to establish plausible claims. The defendants contend that the allegations are speculative, lack necessary detail, and do not meet federal pleading standards. They also argue that some claims are time-barred and that Jones has not shown any fraudulent concealment to toll the statute of limitations.The defendants further assert that the RICO claims are unfounded, as the complaint lacks evidence of an enterprise or a pattern of racketeering activity—both of which are essential elements for a RICO claim. They maintain that Jones's allegations are based on broad conclusions rather than concrete facts and lack a clear link to any harm suffered. In conclusion, they request the complete dismissal of the Second Amended Complaint and have asked for oral argument on the motion.(commercial at 8:26)to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.83.0.pdf (courtlistener.com)

In Jones v. Combs et al. (Civil Action No. 24-cv-01457), defendants Sean Combs, Love Records, and Combs Global Enterprises have filed a Reply Memorandum to support their motion to dismiss the Second Amended Complaint. They argue that the plaintiff, Rodney Jones, fails to provide sufficient evidence to establish plausible claims. The defendants contend that the allegations are speculative, lack necessary detail, and do not meet federal pleading standards. They also argue that some claims are time-barred and that Jones has not shown any fraudulent concealment to toll the statute of limitations.The defendants further assert that the RICO claims are unfounded, as the complaint lacks evidence of an enterprise or a pattern of racketeering activity—both of which are essential elements for a RICO claim. They maintain that Jones's allegations are based on broad conclusions rather than concrete facts and lack a clear link to any harm suffered. In conclusion, they request the complete dismissal of the Second Amended Complaint and have asked for oral argument on the motion.(commercial at 7:55)to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.83.0.pdf (courtlistener.com)

In Jones v. Combs et al. (Civil Action No. 24-cv-01457), defendants Sean Combs, Love Records, and Combs Global Enterprises have filed a Reply Memorandum to support their motion to dismiss the Second Amended Complaint. They argue that the plaintiff, Rodney Jones, fails to provide sufficient evidence to establish plausible claims. The defendants contend that the allegations are speculative, lack necessary detail, and do not meet federal pleading standards. They also argue that some claims are time-barred and that Jones has not shown any fraudulent concealment to toll the statute of limitations.The defendants further assert that the RICO claims are unfounded, as the complaint lacks evidence of an enterprise or a pattern of racketeering activity—both of which are essential elements for a RICO claim. They maintain that Jones's allegations are based on broad conclusions rather than concrete facts and lack a clear link to any harm suffered. In conclusion, they request the complete dismissal of the Second Amended Complaint and have asked for oral argument on the motion.(commercial at 9:44)to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.83.0.pdf (courtlistener.com)

In Jones v. Combs et al. (Civil Action No. 24-cv-01457), defendants Sean Combs, Love Records, and Combs Global Enterprises have filed a Reply Memorandum to support their motion to dismiss the Second Amended Complaint. They argue that the plaintiff, Rodney Jones, fails to provide sufficient evidence to establish plausible claims. The defendants contend that the allegations are speculative, lack necessary detail, and do not meet federal pleading standards. They also argue that some claims are time-barred and that Jones has not shown any fraudulent concealment to toll the statute of limitations.The defendants further assert that the RICO claims are unfounded, as the complaint lacks evidence of an enterprise or a pattern of racketeering activity—both of which are essential elements for a RICO claim. They maintain that Jones's allegations are based on broad conclusions rather than concrete facts and lack a clear link to any harm suffered. In conclusion, they request the complete dismissal of the Second Amended Complaint and have asked for oral argument on the motion.(commercial at 9:41)to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.83.0.pdf (courtlistener.com)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

In Jones v. Combs et al. (Civil Action No. 24-cv-01457), defendants Sean Combs, Love Records, and Combs Global Enterprises have filed a Reply Memorandum to support their motion to dismiss the Second Amended Complaint. They argue that the plaintiff, Rodney Jones, fails to provide sufficient evidence to establish plausible claims. The defendants contend that the allegations are speculative, lack necessary detail, and do not meet federal pleading standards. They also argue that some claims are time-barred and that Jones has not shown any fraudulent concealment to toll the statute of limitations.The defendants further assert that the RICO claims are unfounded, as the complaint lacks evidence of an enterprise or a pattern of racketeering activity—both of which are essential elements for a RICO claim. They maintain that Jones's allegations are based on broad conclusions rather than concrete facts and lack a clear link to any harm suffered. In conclusion, they request the complete dismissal of the Second Amended Complaint and have asked for oral argument on the motion.to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.83.0.pdf (courtlistener.com)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

In the lawsuit filed by Rodney "Lil Rod" Jones against Diddy and associated entities, Universal Music Group (UMG) and its representatives, including Martha Brathwaite, have made significant moves to distance the label from the allegations. Jones accuses Diddy of various forms of misconduct, including an alleged shooting incident at a 2022 writing camp. In response, UMG's legal team, supported by Brathwaite's declaration, asserts that UMG and Motown Records were not responsible for organizing or providing security for the camp where the alleged shooting took place.Brathwaite's declaration clarifies that Diddy's Love Records, not UMG or Motown, oversaw and financed the camp, arguing that UMG should not be held accountable for any security failures or incidents that occurred. The label's legal filings aim to have UMG dismissed from the case, contending that Jones is inappropriately attempting to involve the label despite its lack of operational control or direct involvement in the events under dispute.Additionally, the legal strategy seeks to prevent the lawsuit from being amended further, with UMG lawyers arguing that any additional claims would be futile. The case exemplifies how UMG and other corporate entities named in the lawsuit are seeking to limit their exposure and sever any implied connections to Diddy's alleged misconduct during these events. This legal push reflects the complexities of liability when artists manage multiple companies across overlapping spheres.(commercial at 9:05)to contact me:bobbycapucci@protonmail.com

In the lawsuit filed by Rodney "Lil Rod" Jones against Diddy and associated entities, Universal Music Group (UMG) and its representatives, including Martha Brathwaite, have made significant moves to distance the label from the allegations. Jones accuses Diddy of various forms of misconduct, including an alleged shooting incident at a 2022 writing camp. In response, UMG's legal team, supported by Brathwaite's declaration, asserts that UMG and Motown Records were not responsible for organizing or providing security for the camp where the alleged shooting took place.Brathwaite's declaration clarifies that Diddy's Love Records, not UMG or Motown, oversaw and financed the camp, arguing that UMG should not be held accountable for any security failures or incidents that occurred. The label's legal filings aim to have UMG dismissed from the case, contending that Jones is inappropriately attempting to involve the label despite its lack of operational control or direct involvement in the events under dispute.Additionally, the legal strategy seeks to prevent the lawsuit from being amended further, with UMG lawyers arguing that any additional claims would be futile. The case exemplifies how UMG and other corporate entities named in the lawsuit are seeking to limit their exposure and sever any implied connections to Diddy's alleged misconduct during these events. This legal push reflects the complexities of liability when artists manage multiple companies across overlapping spheres.(commercial at 9:05)to contact me:bobbycapucci@protonmail.com

In the lawsuit filed by Rodney "Lil Rod" Jones against Diddy and associated entities, Universal Music Group (UMG) and its representatives, including Martha Brathwaite, have made significant moves to distance the label from the allegations. Jones accuses Diddy of various forms of misconduct, including an alleged shooting incident at a 2022 writing camp. In response, UMG's legal team, supported by Brathwaite's declaration, asserts that UMG and Motown Records were not responsible for organizing or providing security for the camp where the alleged shooting took place.Brathwaite's declaration clarifies that Diddy's Love Records, not UMG or Motown, oversaw and financed the camp, arguing that UMG should not be held accountable for any security failures or incidents that occurred. The label's legal filings aim to have UMG dismissed from the case, contending that Jones is inappropriately attempting to involve the label despite its lack of operational control or direct involvement in the events under dispute.Additionally, the legal strategy seeks to prevent the lawsuit from being amended further, with UMG lawyers arguing that any additional claims would be futile. The case exemplifies how UMG and other corporate entities named in the lawsuit are seeking to limit their exposure and sever any implied connections to Diddy's alleged misconduct during these events. This legal push reflects the complexities of liability when artists manage multiple companies across overlapping spheres.(commercial at 9:05)to contact me:bobbycapucci@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

The case of Jones v. Combs (1:24-cv-01457) involves a complex series of allegations against Sean "Diddy" Combs and multiple associated parties, including Universal Music Group and Love Records. The opposition to Combs' motion to dismiss centers on serious allegations of misconduct, with the plaintiff, Rodney Jones, asserting claims under the Racketeer Influenced and Corrupt Organizations (RICO) Act. The request for judicial notice of Combs' federal indictment ties into broader accusations, including sex trafficking and racketeering, which have gained significant attention in a separate federal case.This particular filing challenges Combs' legal team's attempt to dismiss the case by bringing forward evidence that links the civil case to Combs' criminal indictment, arguing that the indictment supports the plaintiff's claims of exploitation and manipulation over a prolonged period. The opposition excludes Justin Dior Combs but includes other significant figures and corporations, with the plaintiff seeking to ensure the court acknowledges the federal charges in the ongoing civil proceedings.The case has seen numerous legal maneuvers, including motions for sanctions and attempts to amend complaints, reflecting the high-stakes nature of the litigation and the complexity of the issues at hand​.(commercial at 8:03)to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.78.0.pdf (courtlistener.com)

The case of Jones v. Combs (1:24-cv-01457) involves a complex series of allegations against Sean "Diddy" Combs and multiple associated parties, including Universal Music Group and Love Records. The opposition to Combs' motion to dismiss centers on serious allegations of misconduct, with the plaintiff, Rodney Jones, asserting claims under the Racketeer Influenced and Corrupt Organizations (RICO) Act. The request for judicial notice of Combs' federal indictment ties into broader accusations, including sex trafficking and racketeering, which have gained significant attention in a separate federal case.This particular filing challenges Combs' legal team's attempt to dismiss the case by bringing forward evidence that links the civil case to Combs' criminal indictment, arguing that the indictment supports the plaintiff's claims of exploitation and manipulation over a prolonged period. The opposition excludes Justin Dior Combs but includes other significant figures and corporations, with the plaintiff seeking to ensure the court acknowledges the federal charges in the ongoing civil proceedings.The case has seen numerous legal maneuvers, including motions for sanctions and attempts to amend complaints, reflecting the high-stakes nature of the litigation and the complexity of the issues at hand​.(commercial at 8:12)to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.78.0.pdf (courtlistener.com)

The case of Jones v. Combs (1:24-cv-01457) involves a complex series of allegations against Sean "Diddy" Combs and multiple associated parties, including Universal Music Group and Love Records. The opposition to Combs' motion to dismiss centers on serious allegations of misconduct, with the plaintiff, Rodney Jones, asserting claims under the Racketeer Influenced and Corrupt Organizations (RICO) Act. The request for judicial notice of Combs' federal indictment ties into broader accusations, including sex trafficking and racketeering, which have gained significant attention in a separate federal case.This particular filing challenges Combs' legal team's attempt to dismiss the case by bringing forward evidence that links the civil case to Combs' criminal indictment, arguing that the indictment supports the plaintiff's claims of exploitation and manipulation over a prolonged period. The opposition excludes Justin Dior Combs but includes other significant figures and corporations, with the plaintiff seeking to ensure the court acknowledges the federal charges in the ongoing civil proceedings.The case has seen numerous legal maneuvers, including motions for sanctions and attempts to amend complaints, reflecting the high-stakes nature of the litigation and the complexity of the issues at hand​.(commercial at 9:49)to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.78.0.pdf (courtlistener.com)

The case of Jones v. Combs (1:24-cv-01457) involves a complex series of allegations against Sean "Diddy" Combs and multiple associated parties, including Universal Music Group and Love Records. The opposition to Combs' motion to dismiss centers on serious allegations of misconduct, with the plaintiff, Rodney Jones, asserting claims under the Racketeer Influenced and Corrupt Organizations (RICO) Act. The request for judicial notice of Combs' federal indictment ties into broader accusations, including sex trafficking and racketeering, which have gained significant attention in a separate federal case.This particular filing challenges Combs' legal team's attempt to dismiss the case by bringing forward evidence that links the civil case to Combs' criminal indictment, arguing that the indictment supports the plaintiff's claims of exploitation and manipulation over a prolonged period. The opposition excludes Justin Dior Combs but includes other significant figures and corporations, with the plaintiff seeking to ensure the court acknowledges the federal charges in the ongoing civil proceedings.The case has seen numerous legal maneuvers, including motions for sanctions and attempts to amend complaints, reflecting the high-stakes nature of the litigation and the complexity of the issues at hand​.(commercial at 7:02)to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.78.0.pdf (courtlistener.com)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

The case of Jones v. Combs (1:24-cv-01457) involves a complex series of allegations against Sean "Diddy" Combs and multiple associated parties, including Universal Music Group and Love Records. The opposition to Combs' motion to dismiss centers on serious allegations of misconduct, with the plaintiff, Rodney Jones, asserting claims under the Racketeer Influenced and Corrupt Organizations (RICO) Act. The request for judicial notice of Combs' federal indictment ties into broader accusations, including sex trafficking and racketeering, which have gained significant attention in a separate federal case.This particular filing challenges Combs' legal team's attempt to dismiss the case by bringing forward evidence that links the civil case to Combs' criminal indictment, arguing that the indictment supports the plaintiff's claims of exploitation and manipulation over a prolonged period. The opposition excludes Justin Dior Combs but includes other significant figures and corporations, with the plaintiff seeking to ensure the court acknowledges the federal charges in the ongoing civil proceedings.The case has seen numerous legal maneuvers, including motions for sanctions and attempts to amend complaints, reflecting the high-stakes nature of the litigation and the complexity of the issues at hand​.(commercial at 9:49)to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.78.0.pdf (courtlistener.com)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

The case of Jones v. Combs (1:24-cv-01457) involves a complex series of allegations against Sean "Diddy" Combs and multiple associated parties, including Universal Music Group and Love Records. The opposition to Combs' motion to dismiss centers on serious allegations of misconduct, with the plaintiff, Rodney Jones, asserting claims under the Racketeer Influenced and Corrupt Organizations (RICO) Act. The request for judicial notice of Combs' federal indictment ties into broader accusations, including sex trafficking and racketeering, which have gained significant attention in a separate federal case.This particular filing challenges Combs' legal team's attempt to dismiss the case by bringing forward evidence that links the civil case to Combs' criminal indictment, arguing that the indictment supports the plaintiff's claims of exploitation and manipulation over a prolonged period. The opposition excludes Justin Dior Combs but includes other significant figures and corporations, with the plaintiff seeking to ensure the court acknowledges the federal charges in the ongoing civil proceedings.The case has seen numerous legal maneuvers, including motions for sanctions and attempts to amend complaints, reflecting the high-stakes nature of the litigation and the complexity of the issues at hand​.(commercial at 7:02)to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.78.0.pdf (courtlistener.com)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

The case of Jones v. Combs (1:24-cv-01457) involves a complex series of allegations against Sean "Diddy" Combs and multiple associated parties, including Universal Music Group and Love Records. The opposition to Combs' motion to dismiss centers on serious allegations of misconduct, with the plaintiff, Rodney Jones, asserting claims under the Racketeer Influenced and Corrupt Organizations (RICO) Act. The request for judicial notice of Combs' federal indictment ties into broader accusations, including sex trafficking and racketeering, which have gained significant attention in a separate federal case.This particular filing challenges Combs' legal team's attempt to dismiss the case by bringing forward evidence that links the civil case to Combs' criminal indictment, arguing that the indictment supports the plaintiff's claims of exploitation and manipulation over a prolonged period. The opposition excludes Justin Dior Combs but includes other significant figures and corporations, with the plaintiff seeking to ensure the court acknowledges the federal charges in the ongoing civil proceedings.The case has seen numerous legal maneuvers, including motions for sanctions and attempts to amend complaints, reflecting the high-stakes nature of the litigation and the complexity of the issues at hand​.(commercial at 10:20)to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.78.0.pdf (courtlistener.com)

The case of Jones v. Combs (1:24-cv-01457) involves a complex series of allegations against Sean "Diddy" Combs and multiple associated parties, including Universal Music Group and Love Records. The opposition to Combs' motion to dismiss centers on serious allegations of misconduct, with the plaintiff, Rodney Jones, asserting claims under the Racketeer Influenced and Corrupt Organizations (RICO) Act. The request for judicial notice of Combs' federal indictment ties into broader accusations, including sex trafficking and racketeering, which have gained significant attention in a separate federal case.This particular filing challenges Combs' legal team's attempt to dismiss the case by bringing forward evidence that links the civil case to Combs' criminal indictment, arguing that the indictment supports the plaintiff's claims of exploitation and manipulation over a prolonged period. The opposition excludes Justin Dior Combs but includes other significant figures and corporations, with the plaintiff seeking to ensure the court acknowledges the federal charges in the ongoing civil proceedings.The case has seen numerous legal maneuvers, including motions for sanctions and attempts to amend complaints, reflecting the high-stakes nature of the litigation and the complexity of the issues at hand​.(commercial at 9:21)to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.78.0.pdf (courtlistener.com)

The case of Jones v. Combs (1:24-cv-01457) involves a complex series of allegations against Sean "Diddy" Combs and multiple associated parties, including Universal Music Group and Love Records. The opposition to Combs' motion to dismiss centers on serious allegations of misconduct, with the plaintiff, Rodney Jones, asserting claims under the Racketeer Influenced and Corrupt Organizations (RICO) Act. The request for judicial notice of Combs' federal indictment ties into broader accusations, including sex trafficking and racketeering, which have gained significant attention in a separate federal case.This particular filing challenges Combs' legal team's attempt to dismiss the case by bringing forward evidence that links the civil case to Combs' criminal indictment, arguing that the indictment supports the plaintiff's claims of exploitation and manipulation over a prolonged period. The opposition excludes Justin Dior Combs but includes other significant figures and corporations, with the plaintiff seeking to ensure the court acknowledges the federal charges in the ongoing civil proceedings.The case has seen numerous legal maneuvers, including motions for sanctions and attempts to amend complaints, reflecting the high-stakes nature of the litigation and the complexity of the issues at hand​.(commercial at 7:12)to contact me:bobbycapucci@protonmail.comsource:gov.uscourts.nysd.616406.78.0.pdf (courtlistener.com)

Summary of the Memorandum of Law in Support of Motion to Dismiss:Introduction:The memorandum begins by outlining the grounds for dismissing the Second Amended Complaint. The defendants, Sean Combs, Love Records, and Combs Global Enterprises, argue that the complaint fails to state a claim upon which relief can be granted. The defendants seek to have the case dismissed in its entirety.Legal Standards for Dismissal:The document likely explains the legal standards for a motion to dismiss under Rule 12(b)(6) of the Federal Rules of Civil Procedure. This rule allows a defendant to seek dismissal of a complaint if the plaintiff fails to state a claim that is legally sufficient.Arguments for Dismissal:Failure to State a Claim: The defendants argue that the plaintiff, Rodney Jones, has not provided sufficient factual allegations to support his claims against them. The memorandum likely points out that the claims are speculative or lack the necessary detail to establish a plausible claim for relief.Lack of Specificity: The memorandum might argue that the complaint lacks specificity regarding the alleged misconduct of Sean Combs, Love Records, and Combs Global Enterprises. This could include failure to allege how each defendant was involved in the purported wrongdoing.Insufficient Legal Basis: The defendants could argue that the legal theories under which the plaintiff seeks relief are flawed or do not apply to the facts as presented. This might involve challenging the legal validity of the claims or the appropriateness of the chosen legal theories.Discussion of Relevant Case Law:The memorandum typically cites relevant case law to support its arguments. This includes precedents where similar claims were dismissed due to lack of specificity or failure to state a claim. The defendants use these cases to argue that the court should apply the same reasoning to the current complaint.Conclusion:The defendants request that the court dismiss the Second Amended Complaint with prejudice, meaning that the plaintiff would not be allowed to file another complaint on the same grounds. The memorandum concludes by reiterating the arguments for dismissal and emphasizing the insufficiency of the plaintiff's claims.(commercial at 8:06)to contact me:bobbycapucci@protonmail.com

Summary of the Memorandum of Law in Support of Motion to Dismiss:Introduction:The memorandum begins by outlining the grounds for dismissing the Second Amended Complaint. The defendants, Sean Combs, Love Records, and Combs Global Enterprises, argue that the complaint fails to state a claim upon which relief can be granted. The defendants seek to have the case dismissed in its entirety.Legal Standards for Dismissal:The document likely explains the legal standards for a motion to dismiss under Rule 12(b)(6) of the Federal Rules of Civil Procedure. This rule allows a defendant to seek dismissal of a complaint if the plaintiff fails to state a claim that is legally sufficient.Arguments for Dismissal:Failure to State a Claim: The defendants argue that the plaintiff, Rodney Jones, has not provided sufficient factual allegations to support his claims against them. The memorandum likely points out that the claims are speculative or lack the necessary detail to establish a plausible claim for relief.Lack of Specificity: The memorandum might argue that the complaint lacks specificity regarding the alleged misconduct of Sean Combs, Love Records, and Combs Global Enterprises. This could include failure to allege how each defendant was involved in the purported wrongdoing.Insufficient Legal Basis: The defendants could argue that the legal theories under which the plaintiff seeks relief are flawed or do not apply to the facts as presented. This might involve challenging the legal validity of the claims or the appropriateness of the chosen legal theories.Discussion of Relevant Case Law:The memorandum typically cites relevant case law to support its arguments. This includes precedents where similar claims were dismissed due to lack of specificity or failure to state a claim. The defendants use these cases to argue that the court should apply the same reasoning to the current complaint.Conclusion:The defendants request that the court dismiss the Second Amended Complaint with prejudice, meaning that the plaintiff would not be allowed to file another complaint on the same grounds. The memorandum concludes by reiterating the arguments for dismissal and emphasizing the insufficiency of the plaintiff's claims.(commercial at 9:46)to contact me:bobbycapucci@protonmail.com

Summary of the Memorandum of Law in Support of Motion to Dismiss:Introduction:The memorandum begins by outlining the grounds for dismissing the Second Amended Complaint. The defendants, Sean Combs, Love Records, and Combs Global Enterprises, argue that the complaint fails to state a claim upon which relief can be granted. The defendants seek to have the case dismissed in its entirety.Legal Standards for Dismissal:The document likely explains the legal standards for a motion to dismiss under Rule 12(b)(6) of the Federal Rules of Civil Procedure. This rule allows a defendant to seek dismissal of a complaint if the plaintiff fails to state a claim that is legally sufficient.Arguments for Dismissal:Failure to State a Claim: The defendants argue that the plaintiff, Rodney Jones, has not provided sufficient factual allegations to support his claims against them. The memorandum likely points out that the claims are speculative or lack the necessary detail to establish a plausible claim for relief.Lack of Specificity: The memorandum might argue that the complaint lacks specificity regarding the alleged misconduct of Sean Combs, Love Records, and Combs Global Enterprises. This could include failure to allege how each defendant was involved in the purported wrongdoing.Insufficient Legal Basis: The defendants could argue that the legal theories under which the plaintiff seeks relief are flawed or do not apply to the facts as presented. This might involve challenging the legal validity of the claims or the appropriateness of the chosen legal theories.Discussion of Relevant Case Law:The memorandum typically cites relevant case law to support its arguments. This includes precedents where similar claims were dismissed due to lack of specificity or failure to state a claim. The defendants use these cases to argue that the court should apply the same reasoning to the current complaint.Conclusion:The defendants request that the court dismiss the Second Amended Complaint with prejudice, meaning that the plaintiff would not be allowed to file another complaint on the same grounds. The memorandum concludes by reiterating the arguments for dismissal and emphasizing the insufficiency of the plaintiff's claims.(commercial at 9:46)to contact me:bobbycapucci@protonmail.com

Summary of the Memorandum of Law in Support of Motion to Dismiss:Introduction:The memorandum begins by outlining the grounds for dismissing the Second Amended Complaint. The defendants, Sean Combs, Love Records, and Combs Global Enterprises, argue that the complaint fails to state a claim upon which relief can be granted. The defendants seek to have the case dismissed in its entirety.Legal Standards for Dismissal:The document likely explains the legal standards for a motion to dismiss under Rule 12(b)(6) of the Federal Rules of Civil Procedure. This rule allows a defendant to seek dismissal of a complaint if the plaintiff fails to state a claim that is legally sufficient.Arguments for Dismissal:Failure to State a Claim: The defendants argue that the plaintiff, Rodney Jones, has not provided sufficient factual allegations to support his claims against them. The memorandum likely points out that the claims are speculative or lack the necessary detail to establish a plausible claim for relief.Lack of Specificity: The memorandum might argue that the complaint lacks specificity regarding the alleged misconduct of Sean Combs, Love Records, and Combs Global Enterprises. This could include failure to allege how each defendant was involved in the purported wrongdoing.Insufficient Legal Basis: The defendants could argue that the legal theories under which the plaintiff seeks relief are flawed or do not apply to the facts as presented. This might involve challenging the legal validity of the claims or the appropriateness of the chosen legal theories.Discussion of Relevant Case Law:The memorandum typically cites relevant case law to support its arguments. This includes precedents where similar claims were dismissed due to lack of specificity or failure to state a claim. The defendants use these cases to argue that the court should apply the same reasoning to the current complaint.Conclusion:The defendants request that the court dismiss the Second Amended Complaint with prejudice, meaning that the plaintiff would not be allowed to file another complaint on the same grounds. The memorandum concludes by reiterating the arguments for dismissal and emphasizing the insufficiency of the plaintiff's claims.(commercial at 7:03)to contact me:bobbycapucci@protonmail.com

Summary of the Memorandum of Law in Support of Motion to Dismiss:Introduction:The memorandum begins by outlining the grounds for dismissing the Second Amended Complaint. The defendants, Sean Combs, Love Records, and Combs Global Enterprises, argue that the complaint fails to state a claim upon which relief can be granted. The defendants seek to have the case dismissed in its entirety.Legal Standards for Dismissal:The document likely explains the legal standards for a motion to dismiss under Rule 12(b)(6) of the Federal Rules of Civil Procedure. This rule allows a defendant to seek dismissal of a complaint if the plaintiff fails to state a claim that is legally sufficient.Arguments for Dismissal:Failure to State a Claim: The defendants argue that the plaintiff, Rodney Jones, has not provided sufficient factual allegations to support his claims against them. The memorandum likely points out that the claims are speculative or lack the necessary detail to establish a plausible claim for relief.Lack of Specificity: The memorandum might argue that the complaint lacks specificity regarding the alleged misconduct of Sean Combs, Love Records, and Combs Global Enterprises. This could include failure to allege how each defendant was involved in the purported wrongdoing.Insufficient Legal Basis: The defendants could argue that the legal theories under which the plaintiff seeks relief are flawed or do not apply to the facts as presented. This might involve challenging the legal validity of the claims or the appropriateness of the chosen legal theories.Discussion of Relevant Case Law:The memorandum typically cites relevant case law to support its arguments. This includes precedents where similar claims were dismissed due to lack of specificity or failure to state a claim. The defendants use these cases to argue that the court should apply the same reasoning to the current complaint.Conclusion:The defendants request that the court dismiss the Second Amended Complaint with prejudice, meaning that the plaintiff would not be allowed to file another complaint on the same grounds. The memorandum concludes by reiterating the arguments for dismissal and emphasizing the insufficiency of the plaintiff's claims.(commercial at 7:24)to contact me:bobbycapucci@protonmail.com

Summary of the Memorandum of Law in Support of Motion to Dismiss:Introduction:The memorandum begins by outlining the grounds for dismissing the Second Amended Complaint. The defendants, Sean Combs, Love Records, and Combs Global Enterprises, argue that the complaint fails to state a claim upon which relief can be granted. The defendants seek to have the case dismissed in its entirety.Legal Standards for Dismissal:The document likely explains the legal standards for a motion to dismiss under Rule 12(b)(6) of the Federal Rules of Civil Procedure. This rule allows a defendant to seek dismissal of a complaint if the plaintiff fails to state a claim that is legally sufficient.Arguments for Dismissal:Failure to State a Claim: The defendants argue that the plaintiff, Rodney Jones, has not provided sufficient factual allegations to support his claims against them. The memorandum likely points out that the claims are speculative or lack the necessary detail to establish a plausible claim for relief.Lack of Specificity: The memorandum might argue that the complaint lacks specificity regarding the alleged misconduct of Sean Combs, Love Records, and Combs Global Enterprises. This could include failure to allege how each defendant was involved in the purported wrongdoing.Insufficient Legal Basis: The defendants could argue that the legal theories under which the plaintiff seeks relief are flawed or do not apply to the facts as presented. This might involve challenging the legal validity of the claims or the appropriateness of the chosen legal theories.Discussion of Relevant Case Law:The memorandum typically cites relevant case law to support its arguments. This includes precedents where similar claims were dismissed due to lack of specificity or failure to state a claim. The defendants use these cases to argue that the court should apply the same reasoning to the current complaint.Conclusion:The defendants request that the court dismiss the Second Amended Complaint with prejudice, meaning that the plaintiff would not be allowed to file another complaint on the same grounds. The memorandum concludes by reiterating the arguments for dismissal and emphasizing the insufficiency of the plaintiff's claims.(commercial at 7:03)to contact me:bobbycapucci@protonmail.com

Summary of the Memorandum of Law in Support of Motion to Dismiss:Introduction:The memorandum begins by outlining the grounds for dismissing the Second Amended Complaint. The defendants, Sean Combs, Love Records, and Combs Global Enterprises, argue that the complaint fails to state a claim upon which relief can be granted. The defendants seek to have the case dismissed in its entirety.Legal Standards for Dismissal:The document likely explains the legal standards for a motion to dismiss under Rule 12(b)(6) of the Federal Rules of Civil Procedure. This rule allows a defendant to seek dismissal of a complaint if the plaintiff fails to state a claim that is legally sufficient.Arguments for Dismissal:Failure to State a Claim: The defendants argue that the plaintiff, Rodney Jones, has not provided sufficient factual allegations to support his claims against them. The memorandum likely points out that the claims are speculative or lack the necessary detail to establish a plausible claim for relief.Lack of Specificity: The memorandum might argue that the complaint lacks specificity regarding the alleged misconduct of Sean Combs, Love Records, and Combs Global Enterprises. This could include failure to allege how each defendant was involved in the purported wrongdoing.Insufficient Legal Basis: The defendants could argue that the legal theories under which the plaintiff seeks relief are flawed or do not apply to the facts as presented. This might involve challenging the legal validity of the claims or the appropriateness of the chosen legal theories.Discussion of Relevant Case Law:The memorandum typically cites relevant case law to support its arguments. This includes precedents where similar claims were dismissed due to lack of specificity or failure to state a claim. The defendants use these cases to argue that the court should apply the same reasoning to the current complaint.Conclusion:The defendants request that the court dismiss the Second Amended Complaint with prejudice, meaning that the plaintiff would not be allowed to file another complaint on the same grounds. The memorandum concludes by reiterating the arguments for dismissal and emphasizing the insufficiency of the plaintiff's claims.(commercial at 6:35)to contact me:bobbycapucci@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

Summary of the Memorandum of Law in Support of Motion to Dismiss:Introduction:The memorandum begins by outlining the grounds for dismissing the Second Amended Complaint. The defendants, Sean Combs, Love Records, and Combs Global Enterprises, argue that the complaint fails to state a claim upon which relief can be granted. The defendants seek to have the case dismissed in its entirety.Legal Standards for Dismissal:The document likely explains the legal standards for a motion to dismiss under Rule 12(b)(6) of the Federal Rules of Civil Procedure. This rule allows a defendant to seek dismissal of a complaint if the plaintiff fails to state a claim that is legally sufficient.Arguments for Dismissal:Failure to State a Claim: The defendants argue that the plaintiff, Rodney Jones, has not provided sufficient factual allegations to support his claims against them. The memorandum likely points out that the claims are speculative or lack the necessary detail to establish a plausible claim for relief.Lack of Specificity: The memorandum might argue that the complaint lacks specificity regarding the alleged misconduct of Sean Combs, Love Records, and Combs Global Enterprises. This could include failure to allege how each defendant was involved in the purported wrongdoing.Insufficient Legal Basis: The defendants could argue that the legal theories under which the plaintiff seeks relief are flawed or do not apply to the facts as presented. This might involve challenging the legal validity of the claims or the appropriateness of the chosen legal theories.Discussion of Relevant Case Law:The memorandum typically cites relevant case law to support its arguments. This includes precedents where similar claims were dismissed due to lack of specificity or failure to state a claim. The defendants use these cases to argue that the court should apply the same reasoning to the current complaint.Conclusion:The defendants request that the court dismiss the Second Amended Complaint with prejudice, meaning that the plaintiff would not be allowed to file another complaint on the same grounds. The memorandum concludes by reiterating the arguments for dismissal and emphasizing the insufficiency of the plaintiff's claims.(commercial at 6:35)to contact me:bobbycapucci@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

Summary of the Memorandum of Law in Support of Motion to Dismiss:Introduction:The memorandum begins by outlining the grounds for dismissing the Second Amended Complaint. The defendants, Sean Combs, Love Records, and Combs Global Enterprises, argue that the complaint fails to state a claim upon which relief can be granted. The defendants seek to have the case dismissed in its entirety.Legal Standards for Dismissal:The document likely explains the legal standards for a motion to dismiss under Rule 12(b)(6) of the Federal Rules of Civil Procedure. This rule allows a defendant to seek dismissal of a complaint if the plaintiff fails to state a claim that is legally sufficient.Arguments for Dismissal:Failure to State a Claim: The defendants argue that the plaintiff, Rodney Jones, has not provided sufficient factual allegations to support his claims against them. The memorandum likely points out that the claims are speculative or lack the necessary detail to establish a plausible claim for relief.Lack of Specificity: The memorandum might argue that the complaint lacks specificity regarding the alleged misconduct of Sean Combs, Love Records, and Combs Global Enterprises. This could include failure to allege how each defendant was involved in the purported wrongdoing.Insufficient Legal Basis: The defendants could argue that the legal theories under which the plaintiff seeks relief are flawed or do not apply to the facts as presented. This might involve challenging the legal validity of the claims or the appropriateness of the chosen legal theories.Discussion of Relevant Case Law:The memorandum typically cites relevant case law to support its arguments. This includes precedents where similar claims were dismissed due to lack of specificity or failure to state a claim. The defendants use these cases to argue that the court should apply the same reasoning to the current complaint.Conclusion:The defendants request that the court dismiss the Second Amended Complaint with prejudice, meaning that the plaintiff would not be allowed to file another complaint on the same grounds. The memorandum concludes by reiterating the arguments for dismissal and emphasizing the insufficiency of the plaintiff's claims.(commercial at 9:46)to contact me:bobbycapucci@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

M. Teezy & Dimitri discuss new music such as Lil Wayne's "Kant Nobody" single featuring DMX and how Lil Wayne and Swizz Beatz have been an underrated artist/producer combo over the last few years, Jozzy's "Songs For Women, Free Game For N****s" EP and if Diddy still has the ears for R&B for his Love Records label that he did for Bad Boy, J. Cole's "On The Street" feature on j-hope's single and if we should expect more Hip-Hop and K-Pop collaborations, Nicki Minaj's "Red Ruby Da Sleeze" single and if such a sample used hints on an upcoming album and so much more!

Sean “Diddy” Combs is one of hip-hop's most serial entrepreneurs. His business track record stretches 30 years with successes in completely-different industries — music (Bad Boys Records), clothing (Sean John), spirits (Ciroc and DeLeon), media (Revolt), among many other ventures. To take a closer look at Combs' empire, I brought on Tarik Brooks, who is the president of Combs Enterprises. Many chalk up Diddy's entrepreneurial success to his influence and brand alone. While Tarik doesn't deny Diddy's star power, he also argues that line of thinking understates Diddy's business acumen — his ability to spot trends, attract talent, raise capital, and so forth. Not only that, but the broadness of Combs Enterprises is a unique competitive advantage. Diddy's different businesses across sectors give them unique data points that can drive decision-making. The group announced a new foray into cannabis in late 2022. However, they won't enter the space completely void of knowledge. Using insights from Revolt or Ciroc, they can glean how customers think about cannabis already.  Tarik and I dove deep into Diddy's sprawling business empire this episode — the “why” not the “how” behind Puff's success. Here's what you can expect to hear: [0:00] Combs Enterprises' focus in 2023[2:22] Synergies between Diddy's different businesses [4:40] Using Revolt Summit as a testing ground [6:29] Origins of the “Ciroc playbook”  [9:32] How much strategic overlap is there between Ciroc and DeLeon marketing? [15:41] Entering the cannabis space[18:00] Regulatory challenges in the cannabis industry[26:01] Why Diddy is not just another celebrity entrepreneur [30:03] How Combs Enterprises invests in startups[34:21] Did Diddy really back Elon Musk's purchase of Twitter?[36:45] No rush to sell Bad Boy Records catalog [41:32] Sean John comeback [47:05] Diddy's attempt to buy the Carolina Panthers in 2018Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuest: Tarik A. Brooks, @tarikamin  Enjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapital Trapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPTION[00:00:00] Tarik Brooks: Twitter's impact in society is certainly bigger than how it shows up from a profit and loss and from a market cap perspective. And when you look at, you know, where Twitter is trading today is trading at a fraction of like Facebook or like Snapchat is the question from an investment perspective with some you could create meaningful.[00:00:33] Dan Runcie: Hey, welcome to the podcast. I'm your host and the founder of Dan Runcie. This podcast is your place to gain insights from the executives in music, media, entertainment, and more who are taking hip hop culture to the next level. [00:00:53] Dan Runcie: All right, today we got my guy, Tarik Brooks, the president of Combs Enterprises. Second time on the podcast. Great to have you back, man.[00:01:01] Tarik Brooks: Happy New Year my brother. Great to be back. [00:01:03] Dan Runcie: So what's the latest from the House of Combs?[00:01:08] Tarik Brooks: Things are wonderful enterprises, man. Tremendous 2022, where we did a lot of investing in our existing platforms and in new platforms. And so, you know, the big push in 23. Is to operationalized and grow a lot of those new platforms. You know, a lot of people are familiar with the cannabis deal, which we announced late last year. We're gonna close that deal and get that operational. We've also been working on an e-commerce platform with Salesforce, called it Power Global, that will launch this year, you know, released music last year. That did great. I mean, he and a sub-Christian. You know, with the first father and son duo to be number one. At the same time, there'll be more projects from Love Records coming in this year. So a lot of new things are in 23, so I wanna accustom a lot of exciting developments. [00:01:56] Dan Runcie: And I feel like one of the strengths for him whenever he is launching a new brand is being able to find some type of synergy between something that he's done that's already worked and finding some way to tie it all together. And for you, I know you've been there for a couple years. Is there like one company or one tie in that really stands out about, oh yeah, what Puff is able to do here? Tweak the formula a little bit, brought it over to this company and then it helped that one too.[00:02:22] Tarik Brooks: Yeah. It is interesting, man, like, because you know, with the ecosystem we have that there are synergies all over the place that we work hard to exploit everyday. What I'll tell you bigger thing is that underneath our ecosystem sits the core premise, a core belief that our culture drives culture, that our people drive what's cool and what's next and what's hot in a meaningful way. So, you know, you go back to blues and jazz and rock and roll to hip hop, TikTok, viral dances, like our people drive that. And so if you look at all of the different elements in our ecosystem. What you see are different sectors that we drive through our cultural presence. And so when you look at our platform through that lens, you see how they all fit together. So then synergies just become finding places where, you know, we can work together to make one plus one equal three or four. Right? And so like, you know, easy examples when you think about how you know our brands will show up at the Revolt Summit. So Revolt hosts this amazing event every year in Atlanta. 10,000 people come. It gives us an opportunity to kinda have revolt, touch to people, but also have ourown touch to people for us to do research for new companies that we're developing the test concepts. These are ways that we don't place there with our ecosystem. I mean, I look at a great example. Deleon tequila. Used Druski in an ad, you know, super funny guy. Did a tremendous job with the ad. We then, you know, connected in with the team in Revolt and he did something with Revolt. It ended up being a great, great opportunity there. So like throughout our ecosystem, you see all these opportunities that exist with our portfolio companies and with the companies that we invest in. We think about how we invest and part of it is all the stuff you expect from any traditional investment vehicle. You know, do you have great leadership? Do you have a strong destructive concept? But what we also know about there two or three ways that this thing could be utilized is our ecosystem for the company. So it's an everyday activity, you know, finding, exploiting, and developing those things [00:04:31] Dan Runcie:  You mentioned earlier about the Revolt Summit and how that can be a test space for whether it's new products or new things. Can you talk more about that? Cause I think that's really interesting. [00:04:40] Tarik Brooks: Yeah, so I mean this past Revolt Summit, the team at Empowered Global, which is the eCommerce platform that I just mentioned, had a space set up where they could introduce the concept to the participants at the Revolt Summit. And more than that, we actually had, and it was, I gotta find you a picture of this. A digital vending machine that was filled with black-owned products. So, and kinda like what you would see at the airport where you have vending machines, where they kinda have, you know, non typical vending machine products, headphones, and different things like that. Our vending machine that we had set up in the Revolt Summit was all filled with products that were owned by black that came from black owned companies. And so that was like just a real example. In that moment, we were able to introduce people to the concept of the platform, try out some new tech and get real time feedback from people who we believe will be a part of that target. [00:05:34] Dan Runcie: That makes sense. Yeah. Because you wanna have people that are first bought in, you get the people there and I think the people that are gonna attend Revolt Summit likely end up being culture shapers or mavens within their particular area themselves. They start saying something's good, and then they can, you know, go back and that's how you're able to spread things.[00:05:52] Tarik Brooks: 100%. It's the way, you know, everybody talks about it in terms of synergies, but we like to talk about it in terms of not planting there, right? Like we have these resources, we have these brands that mean something to people. You know that the most impactful thing we can do is find out how putting those brands together at different times in different ways produces more information, produces more insight, produces more, you know, revenue generating opportunity than any of those entities in silos. So for me, like the silo is the enemy, right? Like the key is to have all of our leaders and all of our team members continuously engaging in a very fluid way.[00:06:29] Dan Runcie: Yeah, the one that always stuck out to me too was Ciroc and the on the ground promotion for that, because there are so many through lines going back to The Bad Boy Days, the Bad Boy Street team, and then the Ciroc Boys. It's very similar playbook and being able to help push that. [00:06:45] Tarik Brooks: Yeah, I mean, look, and again, the playbook is the same. It's the same. You know, when you look at what the spirits industry looked at at the time, it was very different from today. You know, a lot of folks don't realize at that time the only people really trying to market, know black people in the hip was more liquor. Right? Cause I know I wasn't on the team back then, but what I can tell you is he looked at how nightlife worked and how the culture was working and evolving and saw a huge opportunity for an aspirational luxury product. And then was able to apply a lot of the same tools that were driving his success in the music business in spirits. And so that's how you end up with us showing up better than most people in the nightlife, us being able to have the DJs, you know, be a part of our experience. Cause Puff knew back then, in which he knows now how powerful DJs are in the culture and in the communities he lives in. If you look at even now, like a lot of, you know what he's posted socially as, you know, the efforts around love, records, respect. Like, we get what algorithms can do, but understand like DJ is culturally important. Like they mean something to their communities and they mean something to our culture. And in that way they have outside influence, that I think people still underestimate. [00:08:00] Dan Runcie: Yeah, I think as much as things have been movement streaming or NFTs or whatever it is, people still wanna go to the club and people still want to be in the hands of a DJ that knows what they're doing and can introduce them.[00:08:12] Tarik Brooks: Absolutely. There is power and curation. Right. And look, theoretically A.I. will be able to kind of take that input and lead curations that are solid. But you know it's tough to replicate, you know, instinct. And natural art, you know? Exactly. That's the thing, right? Like to be able to think you can do it with just an algorithm means it's all science. And I think, you know, most entertainment industries, particularly when you talk about the power of a DJ, are art and science together. That art is that intuitive thing that, like you, some folks just have, they know when to play the right record. You know, not just cause it's a similar bpm, but they know, cause they know that crowd, they know that venue. They know that audience better than most other people do.[00:09:00] Dan Runcie: Definitely. And I think too, a lot of that we definitely saw with the Ciroc Playbook, but I wanna spend some time in this conversation talking a bit more about Deleon because, I think that that is relatively newer business for other portfolio, but I think there's a lot that's similar, but the lot that's different too in terms of how you've all rolled it out, what you've done, how you've done things differently. So love to start there and maybe start first specifically, how much of the Ciroc Playbook was used with what you've all done so far with Deleon?[00:09:32] Tarik Brooks: Yeah, so I think the core premise stays the same, right? What Puff has been amazing at throughout his career is being able to spot and help develop trends very early. And he saw back in 2013, 2014, that the next wave in spirits was gonna be, you know, brown spirits, in particular tequila. And so when he formed the joint venture with Diageo, that he built that knowing that a tequila wave was coming. Now from the perspective of how industries developed, tequila and vodka are two very different places, right? It is very big, very mature right now, trying to fight off the growth of some of the spirits that are taking customers away, whereas tequila is smaller but fast growing. And it's also very nuanced. So like when you think about what we've been able to do driving Deleon's growth, and Deleon right now is the fastest growing tequila in the country, right?It's on fire right now and just, you know, small plug, you are new to tequila. Deleon are absolutely amazing. I will put them against any tequila that's out there, you know, so smooth ice cube, orange slice. You're good.[00:10:41] Dan Runcie: But any numbers to share in terms of like, cases sold or anything like that?[00:10:45] Tarik Brooks: So look, I'm not gonna go into the details on cases, but again, this is Nielsen's data,this is not coming right? So right now, you look, it is triple digits right now, you know, comfortable cause to disclose. But what I would say is, you know, part of the Deleon story is making sure Deleon is relevant in culture. And when you hear Deleon Lemonade in the young Miami, I'm not sure when, when you see Deleon on, when you see Deleon sharp in these things, it's a part of ensuring Deleon is relevant in the culture and shows up the right way, but there's also a big part of the future of Deleon that will grow. Talking about the liquid itself, you know how we get to such a high quality. It is the fact that Deleon is aged in both American whiskey and French red wine barrels to get the distinctive taste that, like, that's just part of the story that we're still just beginning to tell and roll out as we build it. And from our view, we are building, you know, iconic, long lasting brands. We want Deleon to be thought of the same way you think about Johnny Walker or Hennessy or any other great brands that are out there. So our view is like you don't rush that thing, you develop that story over time. You feed people in, you bring people into the brand and then you culture that and as soon you cultivate that audience, you know, as it grows. And so, you know, a lot of the kinda principles that we've applied in growing, we're applying to Deleon, but we're also being very aware that, you know, vodka and very different liquids develop differently, Exactly The same. And you think about that as you start to position the brand. [00:12:24] Dan Runcie: Yeah, cuz I think that was a good point that you mentioned just in terms of how vodka has been the market leader just from a type of liquor for so long. So you didn't necessarily have to do that piece of it, but it was more so Yeah. How do you bring this brand that I think some people may have forgotten about, but bring it to the same level as your great gooses in your others. [00:12:44] Tarik Brooks: Yeah. People know people, I mean, look, the way Ciroc hadn't been positioned in a way that was creating a lot of noise, a lot of impact, and I think, you know, part Puff's genius was figuring out that it was amazing juice. It was amazing liquid, with beautiful bottles. So if you positioned it the right way in culture, you could create a wave. And that wave has been historic. This was a brand that was doing, you know, cases annually and now this is a case brand globally. Huge brand in the spirits industry in a sector that was big, vodka's a very, very big sector. Tequila we're growing Deleon as the sector's growing as well. So it's just, again, from a marketing perspective, a different set of challenges, but the same principles apply to how we think about leveraging culture. Leveraging, you know, our ability to kinda set trends to help drive a career meaningful brand, but it all also starts with a great quality liquid that we stand by. I mean, one of the things, right? Yeah. I think one of the things has always been super consistent about is the authenticity around, like, standing behind the products he brings to market. There's not a variant of Deleon or flavor that gets released without Puff. Personally, we stamped that saying, you know, this is okay to go to market with our income.[00:14:03] Dan Runcie: Right. Yeah, cuz I think the distinction too on the flip side with tequila is like, not even that it's so much education cuz I think a lot of people know tequila, but just getting the consumer a bit of a visual of yes, this is the setting where not just our brand but this broader aspect. And I know there's 1800 and there's like others too. Yeah. But like you all be able to be like, hey, This is where, so some of that, what I think worked so well for sag, just in terms of thinking back to those like Vegas promo shots where they had all the people there being able to, you know, have whatever the tequila and Deleon equivalent is of that.[00:14:39] Tarik Brooks:  Yeah. I mean, look, I think a part of the tequila growth story is helping people understand that, you know, while they may have been introduced to tequila, you know, with shots on spring break or something like that, you know, once you learn more, you learn a much more complex liquid that can be enjoyed a lot of different ways mixed drinks, neat, you know, over on the rocks, you know, and all the other kinds of occasions. So I think part of our experience is helping people understand that it's versatility is part of why it's growing as fast as grown. [00:15:11] Dan Runcie: Yeah, and I think too, just thinking more broadly about spirits and things that people enjoy you all now going into cannabis, I think that there are definitely some similarities there. People wanna be able to relax and enjoy what they choose, but so different in terms of not just regulation, but the culture. How has it been, just, I know, even thinking about the origins of that deal, how some of that playbook and mentality can be leveraged for what you all have now with this massive opportunity in cannabis?[00:15:41] Tarik Brooks: Yeah, I mean, look, there are certainly two categories that are at very different stages, but you know, you could argue they've been on similar journeys, right? Like there was a point in time when alcohol was prohibited. When you look at the history of cannabis, you know, you start to realize a lot of the way this product category was treated was less around the specific impact of the product and more around the specific influence. The culture that was around, you know, before that was hip hop, cannabis was huge in the jazz community. And the jazz community was something that black people were bringing and spreading throughout the United States in a meaningful way and, you know, real impact culturally, and there were folks that didn't wanna see that happen. And so a part of the criminalization of cannabis was connected to slowing down the influence of that jazz, that black culture. And so you've seen over the past years been that cannabis has been illegal, you know, the disproportionate criminalization of black people as it relates to cannabis, more than white people. And so this opportunity is an opportunity that gives us a chance to basically through doing good sound business, you know, rights and historical wrongs. When you look at the last 10 years of legal cannabis, Despite, you know, the overcriminalization of black people, it is dominated by white men. You know, 85, 86% owned by white men. Black people only own 2% of the space, and so for us, particularly coming in this way, it gives us an opportunity to kind of make change and enter the business at scale to be able to come in with a three state footprint and be able to use that as a platform to help change the cannabis ecosystem to make sure to use our platform to enable black and brown people to participate in the industry in a number of different ways. To be able to use our voice, to be able to help shape the way regulators and lawmakers think about how cannabis needs to be developed going forward, and continue to do what we do at our core, which is bring our audience, great quality product for them to enjoy.[00:17:46] Dan Runcie: That makes sense. And I do think that those stats you mentioned are just around the 2% of the business, that is only being, again, like I said, at this point, currently run and administered by black people. And that's in America, right? [00:18:00] Tarik Brooks: In America in the US. It is gonna continue to be a leader in global cannabis. So a lot of countries look to see, you know, what the US is doing and how they're thinking about deregulation and how they shape their rules. And, for us it's a big part of what we do is helping people to see how the way things are set up negatively impacts our community. So when you look at, you know, the cannabis industry broadly working to change the way cannabis is scheduled by the federal government and how it's treated by the federal government and how banks are able to interact with cannabis companies. All of those things make it hard for the industry broadly, but it makes it extra hard for us because when you look at industries without those, We don't get the same access to capital, we don't get the same access to opportunities. So it's one of those things where, you know, once again, we're starting from behind the eight ball, but what our, you know, perspective allows us to do is start from a different vantage point, right? Like it is an extremely difficult time to raise money in cannabis. And so for us to be able to pull off something, this big speech. You know, the success and track record that Puff has had building quality grants, building quality companies, and being able to find the kinda talent you need to come in and create value. And so we're excited man. We think this is gonna be a huge event for the cannabis industry. We think it's gonna be a huge event for us to help our community create meaningful wealth. Cause ultimately, you know, as business people, we wanna use our skills and resources create wealth for our community.[00:19:36] Dan Runcie: Yeah. And like you said, definitely, you know, huge undertaking and make this happen. Can you talk a little bit more about some of the steps to get from the first idea, maybe it's you and Puff talking about, Hey, you know, we should do this, we should get into this business. Then boom, the announcement comes. Like, what were some of the steps to help make this happen? [00:19:53] Tarik Brooks:  So we have been exploring the cannabis industry, you know, with different levels of intensity since looking at opportunities. Starting to understand how the industry works, getting closer and closer to the space, you know, building relationships with entrepreneurs and companies in the space to kinda understand how things develop. I joined the board of Cresco Labs, you know, one cause I wanted to learn more about the industry. I thought they were a great company. But two, from that vantage point, you were able to see how the industry works and how things develop. And so when this opportunity came along, which was really driven by Acquisition of Columbia Care by Cresco. They, by regulation, have to divest assets. This opportunity to look at a portfolio of assets that are good, you know, good, strong businesses. Generating revenue, generating cash flow today to be able to come, bring those into our portfolio and then do what we do to create meaningful brands around those assets seem like a phenomenal opportunity. And so, look, these things take time to develop and it's a long process of, you know, doing the due diligence, raising the capital, going through all the steps you have to do to actually close a deal. But we believe it's gonna be a phenomenal historic deal once it's closed and wherever operated. And we think, like, look, when you look at pub's track record of building brands in music, in fashion, in spirits, you know, should extend, we believe it's gonna extend itself to cannabis and meaningful given how influential and impactful cannabis is in culture.[00:21:28] Dan Runcie: And we definitely know that there are a lot of regulatory challenges in this space for sure. And I also know that there are several other celebrity investors, even some in hip hop that have started businesses in this space and haven't necessarily been able to help take them to the next level. Do you have thoughts about some of those, I guess how business now moving forward can help address and overcome some of those hurdles that maybe some others weren't quite able to get past.[00:21:58] Tarik Brooks: Yeah, so I take those in pieces. What I would say is, you know, we believe over the long term, the federal view on cannabis will change. We believe cannabis will ultimately, eventually be legal, you know, throughout the United States and in all 50 States. But we don't know when that's gonna happen. And so none of our investment thesis, none of our modeling, none of our business case was built on imminent regulatory relief. And so while, you know, we hope for it and we wanna help shape how lawmakers think about it the same way the rest of the issue does. Nothing in our core premise for doing this deal was built on the expectation of regulatory relief this year, next year, five years from now. Right. So that's the one thing I would do. That said, we wanna be immediately a part of the conversation cause cannabis is so connected to our community. And so we're gonna jump into that conversation at the state level. We're gonna jump into that conversation at the national level. Now going to the second part of your question. You know, one of the things I think is the biggest, you know, misnomer when people think about, you know, Sean comes entering cannabis, is thinking about this as a celebrity cannabis deal, right?When I think about this and when Puff and I have always talked about it. What we think about. A guy with an amazing track record of building culturally relevant brands. Is that relevant in cannabis? Yes. Check, right. You know, does he have resources and the platform to be able to raise the capital to do a deal like this. Check. Does he have the ability to attract the kind of talent you need? Check right. Now. You also then say, is this celebrity extremely valuable in getting the word out? Brilliant. Absolutely. But that's not the core premise of what we're trying to do, right? Like we will get as much value through all the things we can learn throughout our ecosystem and how our customers and all of our other businesses think about. As we'll get from Sean Holmes, the celebrity. Right? And so from that perspective, you know, we don't expect to have our business be a celebrity driven brand per se. It's gonna be built on the back of great brand building, great marketing, and very strategic and efficient operations.[00:24:07] Dan Runcie: And I think that ties into something you had said in a recent interview about how insights from Revolt, for instance, can inform some of the decisions that you make with the cannabis business.[00:24:18] Tarik Brooks: Yeah. I mean, look, when you think about an ecosystem like ours that spans from spirits, music, media, fashion, with every interaction with our audience, you create. So every time posts go up from their social media, you know, there's data that comes back. Every Ciroc transaction generates data when Revolt has shows on all the different platforms that has shows on cable, YouTube, In app, all those different platforms generate data. As you compile that data, you're able to kinda look at it with a different lens and pull insights from that. What we're then able to do is take the data that we get from the cannabis industry that everybody else in cannabis is getting. But when you start putting those things together in unique ways, that's how you start to generate interesting insights that everybody's just not gonna have access to 'em. So that's where we think, again, we have a real competitive advantage in how we think about what we do in the space. That'll impact everything from, you know, how our stores look and feel, and what that experience will be what products we lead with how we think about price points, how we change things from state to state. A lot of that will be driven by insights that not only come from the cannabis industry, but that are informed by the other businesses in our portfolio as well. [00:25:32] Dan Runcie: And this steps into, I think, a broader conversation of some of the categorization of someone like Puff and the work that he does in that the media can often put him alongside other people who have happened to be a recording artist on a track and compare their business ventures in the same way. And what you're essentially saying is, You can't compare us all the same way. Did they build a revolt?[00:26:01] Tarik Brooks: It's so hard cause it's like, I don't wanna deny how impactful he is as an entertainer. Epic performances. When you think about, and not just performances in music, performances in movies, performances on Broadway. Like the guy is quintessential, entertaining. You know, by all means, like you can't argue that. But I think when you try to look at him narrowly as just that you are really missing the picture. Cause I think that underestimates or understates, how difficult, it's to build a bad boy into a success, to build a success, build a revolt, to build us rock, to build a Deleon, to build three schools, like that, that's not just on the back of him. An amazing entertainer, right? Like that speaks to his business instincts, his ability to spot trends, his ability to kinda find and cultivate talent, like those are all things that are universal in business. Leave aside what he's been able to do as an entertainer, I would argue, had he never got on the mic or touched the stage, he would've been just that successful business person just on the back. His business, you know, acumen and abilities. And so that's where, when we're in these conversations and people think about, you know, in cannabis this came up recently, people say like, well, you know, celebrity brands haven't really worked. And I'm like, lemme take a second to help you understand why this is different from a celebrity brand opportunity. The other thing that's different that I think is important for people to understand is when we take control of these assets, we'll be fully vertically integrated in the States that we operate, which, we are gonna cultivate, we are a process. We are gonna manufacture, we're gonna distribute, we're gonna sell. So these are all pieces of the business value chain that we'll operate. Again, not so relevant from the celebrity space. This is all around how do you build and run high quality businesses? And that's where I think you have to look at our business portfolio to understand how impactful Puff is throughout his career. And you just don't see those things that the only lens you're looking at is through him as the celebrity. [00:28:10] Dan Runcie: I could see this topic also coming up in some ways, potentially from an investment perspective, where you all have companies that are trying to either get you to invest or you're evaluating them and at some point someone on the other side of the table may come to you and be like, Hey, well if you invest in us, can we get a shout out in a song? Can we get an Instagram post? Can we do this? Like these things that view Puff as the influencer as opposed to the business leader that has all of these things.[00:28:39] Tarik Brooks: Yeah. What I found just in my experience and I've been working with Puff almost six years now. Most of it typically comes with how people were introduced to them and the depth or lack thereof of their understanding of what he's been able to do throughout his career. There's a lot of stuff, you know, people just don't necessarily, you know, attribute to him in the way they should. So usually that journey is one where it's about informing people to say things like, let's make sure you have all the perspective and then think about kinda how this can make sense. Cause again, there's no denying his impact and influence as a celebrity. He's huge. Like, he's a big name, he's an iconic person in culture. But I think to only think about him that way now, I think when people start to understand, you know, what working with Combs Enterprises means more broadly, you start to understand the power of the platform that we really have. And that's where I think it gets really exciting for the people. [00:29:35] Dan Runcie: Yeah, I agree. That makes sense. From an investment perspective specifically though, do you feel like, is that something that often needs to be addressed with startups or with founders or others that may be whether deep down they may be looking for something and I'm more so asking that in a way because I've seen it happen to others and given this conversation, I can see that especially being somewhat frustrating where it's like, Hey, I hope you're not just interested in this to think you're gonna get a shout out.[00:30:03] Tarik Brooks: Yeah. I mean, so look, I'll tell you when we are evaluating investment opportunities and people are looking at ideals, I don't think that is a thing that people are using as their primary driver. Do I think there are people who will be like nice to have, do they hope to get to meet them? Do they hope to get all those? Sure. Right. Like, again, all 'em, all those kinds of things. But I think when we get, you know, evaluating real deals. I think one thing that surprises people is the rigor with which we do our due diligence and our analysis, right? And so that's the first thing you see to say like, well this is not just, you know, high level celebrity thing. This is being looked at with real deep due diligence and real deep analysis. And I think from there it starts to shake away that kinda filter of, oh, oh, I'm gonna try to just get a celebrity deal done. Cause it's just not the way we do business. And I think people get that. [00:31:02] Dan Runcie: Right. Yeah. Leslie. Yeah. Especially if there's a due diligence process that they're seeing on their side. And maybe we could talk a little bit more about that, like from a high level, for a lot of the investments you do, maybe less like the cannabis deals, but more on the venture side, do you have a particular sweet spot in terms of, you know, this is normally the dollar amount range, or this is normally what we put in, or this is normally what we are looking for?[00:31:26] Tarik Brooks: So, we have, you know, flexibility, right? We're not a fund that has to, you know, stick to a certain sector or a certain stage of growth the way, you know, funds are typically mandated to do so. We do have flexibility, but that said, going back to the earlier comment I was making, we tend to look at businesses where we see some application. At places within our current portfolio. Right? So like, I don't know that you'll ever see us do like, you know, some like heavy machinery deals or you know, enterprise software, things like that. Cause that's not natural, when you look at interface with the businesses we operate in, it becomes a lot more interesting for us. And so while we apply, you know, the very standard kinda ways of assessing, you know, the quality of the leadership team, the uniqueness of the opportunity, how opportunity is the total addressable market opportunity. Ultimately, we look at all those things just like every other, you know, person who investigates an opportunity. I think where it gets unique is for us, once we've gone through all that, we then sit back and say, okay, you know, how many of our businesses could actually utilize this offering? You know, how many different places do we think we can use this throughout our portfolio? And then it starts to become even more interesting. So, that's kinda how we get there. Now, to be clear, like we don't have a hard mandate or a set of funds. We have to put the work in the way the fund does, and so we tend to be very, very opportunistic. We pick what we do very carefully to be investing. So as we see economic conditions change as we see market conditions. We're able to just say like, all right, let's take a step back. Let's wait and see how things play out. And I think that helped. I mean, it helped us avoid, you know, some of the frustrations some folks are seeing in the web and cryptocurrency world. Cause we weren't forced to go aggressively and do something too fast. We saw the market was evolving and so we were able to take a step back, and continue to evaluate it. So from that perspective, there's a lot of flex. [00:33:35] Dan Runcie: Yeah, that makes sense, especially given that, yeah, there's no fun mandates though. It's not like you're burned because there's a winter or something like that.[00:33:44] Tarik Brooks: Absolutely, and the reality is we're always investing in our core portfolio as well, right? So we think about whether we wanna put millions into, you know, a startup passively. Part of the kinda analysis is to know where we could deploy in our current portfolio and does that make more sense? Right? And so there's that kinda flow of how we think about deals as well.[00:34:07] Dan Runcie:  Yeah, that makes sense. A couple months ago, there were headlines that Puff had apparently done an investment in Twitter around the time that Elon Musk had. Was that actually a thing, or did that come through or?[00:34:21] Tarik Brooks: Look, so like Puff and Elon like have a relationship.You know, Twitter is a very interesting situation in that when you look at, you know, the side like Twitter's impact in society is certainly bigger than how it shows up from. You know, profit and loss and from a market cap perspective, and when you look at, you know, where Twitter is trading today is trading at a fraction of where like a Facebook or even like a Snapchat is I think, at this point. And so the question becomes, you know, from an investment perspective, like do you think, you know, with some changes you could create meaningful value in Twitter, that platform. And so I think while you know, the kind of, the kind of statements in the press were overstated. There was a small investment in Twitter, but it's nothing. People get pieces of information and run, so we just, you know, we gotta sit back.[00:35:17] Dan Runcie: Yeah. And I think the way you framed it is correct. Right? I think it's definitely one of the 40 billion companies that creates more headlines than most other 44 billion companies we could probably even think of.[00:35:29] Tarik Brooks: Absolutely. Absolutely. So, like with some decisions to be a much more viable company than today and the verdict's still out, like those changes happen in real time and cause of how, you know, big the platform is in society. You know, you're seeing those things play out in the press and, you know, I'm sure Elon's campus is trying to work as methodically as they can through those changes. As they figure out what is the right, you know, kind end state for, for that platform. [00:36:00] Dan Runcie: Yeah, definitely. The other side of the investment piece, of course, I think we talked a lot about Combs Enterprises point Capital, but on the other side of it too, thinking specifically about everything happening in music catalogs over the past couple of years, everyone wants these valuable catalogs with this timeless music. Combs has one of the most valuable hip hop, r&b black music catalogs of the past 30 years with Bad Boy Records. There hasn't been any public news about any sales, but I am sure that people must have been calling nonstop trying to at least see what they could get in there. What were those conversations like? I'm sure at some point it must have come up of Rick, whether it's running the bum numbers or even thinking through like, what would this look like? [00:36:45] Tarik Brooks: Yeah. Well look, I think as you know, like part of the interest in these catalogs is driven by the fact that, you know, the returns they generate aren't really correlated to the market, right? Like they're like if you have, you know, a high quality performing catalog, it's gonna generate returns and generate cash flow irrespective of the ups and downs of the markets. And so that's attractive to investors. That said, for those same reasons, it's attractive to us, right? Like it is a great quality, high performing catalog. And for us, part of how, you know, we think about things, we think about like Puff's long-term vision, right? Like we're getting back into how he's getting back into music now with Love Records. You know, he's gonna build that platform in the way that makes sense as you think about the way culture and the music industry continues to evolve. And for us, we're in no rush to get rid of a portfolio that could be a part of that. Like who knows how you think about those assets in the future. And so for us, we're spending a lot of time thinking about what the future of music is gonna look like. And you know how Puff is gonna participate in that, what that looks like. And so for us, you know, again, you don't have, you know, some of the time constraints that you get from being they're public company or you know, money at a certain time. So we had the benefit of being able to go slow and kinda take our time and basically run experiments at our own pace to figure out what we wanna do. And so from that perspective, people have, you know, continually come through with offers and with opportunities and things. And we've purposely taken our time as we've about what, you know, Puff's experience of music is gonna be over the next, you know, next years as he climbs when he talks about it's his second, right? Like he's at the point of his career where he's accomplished and he's thinking about what that second looks like. Music has always been a very important part of his life, and so music is gonna be a part of that. Second, we're shaping what that looks like. And so from our perspective, there was no reason to move. [00:38:46] Dan Runcie:  That makes a lot of sense and I think for you, there's two things that are different with you all compared to some of the others. Two of them you touched on, but one of them is that you already have the infrastructure in place on how to do things that can help maximize the asset of the Bad Boy Records catalog. It isn't like one of these situations like where the Whitney Houston catalog, like it was dormant before Primary Wave came in and obviously they've like, you know, forseed it since they acquired it three years ago. And it isn't like one of these other legacy artists that, you know, the estate may be in shambles and things just aren't lined up. And yeah, for them it probably makes sense to just get a lump sum of money and be able to distribute that instead of hoping that your relatives who may not be trained in managing this type of asset can't continue doing it forward. Like you all have that. And I think that's part of it.[00:39:37] Tarik Brooks: Yeah. And I think there's a couple ways to think about it too, right? Like, cause these artists work so hard to create these assets. You know, why sell 'em? Why get rid of them? But I think there's a couple ways you can think about. You can say one, alright, we may be at peak pricing. And so it's like, you know what, lemme sell while things are hot. You know, take the cash, be able to take the money off the table and invest other ways. You also, particularly with younger artists to say, all right, I'll sell this catalog, but if I'm still creating, I can continue to create and you know, build new works that will create value as well. And so I think there's different logic for different artists in terms of, you know, why they think about selling and why they sell when they do that, you know, in some respect make, particularly if you're looking at it from a purely financial perspective. But again, we were unique in the way that we have an ecosystem that helps continue to keep catalog relevant. We're back in music now, and so again, that also helps to create the halo effect across all of our ecosystems. And so for us, there just really isn't a rush to move too quickly, like where we can think about what is the kinda value maximizing way to utilize the catalog and whatever else we're doing to create the best outcomes. [00:40:54] Dan Runcie: Right. I think that's a good way to put it too, like you said, numbers are there and if you wanna sell, there are sound financial reasons that someone may choose to do so for you all, and given Puff's current goals in music, it just may not make the most sense, but with that though, shifting gears a bit, one business we haven't talked a lot about is Sean John and I know this is a business that the team had sold a couple years back. The company that bought it. Things didn't quite work out there. You all then bought it back recently. So where are things right now with Sean John?[00:41:32] Tarik Brooks: Yeah, Sean John is super exciting, right? So you first start with an iconic, you know, street brand, right? You know, this is again another example. Being able to see where fashion was going, seeing how, you know, folks in our community were wearing other brands to get particular silhouettes and have it, you know, look a certain way and feel a certain way, and then be able to build a brand. That became a real like a foundational piece of, you know, hip hop culture. And through that process, Puff was the first African American man to win the CFDA award, which is the biggest award you can win in fashion, right? So truly iconic sold the brand. The buyers at the time weren't able to figure out how to maximize it, so they created the opportunity for us to buy back. And so what we're excited to do now, and we're in this process with Puff of really reimagining what can and should be for this generation, right? Like as much as you know, we all love the iconic valore sweatsuits and all rest it like, maybe that's a part of the future. Maybe it's a different brand position, different way, but like spending time. Actually really ideate on that and get to the right concept to bring it back again. We have the benefit cause, you know, we operate this portfolio, we don't have the pressure to rush. Like we don't have to, you know, do something right away to be able to, you know, capture that value overnight. You know, we have the luxury of being able to take our time and what I found with Puff is he likes to be able to, one, work with the quality people he possibly can and really run ideas through the ringer in terms of, you know, having people question his logic, test the thinking. Really, really pressure test to see if it's the right way before we do something. So what I can say is, right now in the lab, like, you know, there's creative folks that are thinking through, you know, what Sean John could be and should be and isn't engaged in that process. And so it's exciting I think when we do hit on the market, we're gonna come back in a way that one pays homage to the legacy of John, but then isn't just caught in what to be, is really thinking about what the brand could mean and should mean to, you know, new generations.[00:43:41] Dan Runcie: Yeah, that makes sense. And I feel like when it happened too, it definitely generated some excitement. So I feel like there's some good momentum. [00:43:47] Tarik Brooks: Yeah, I think a lot of the folks who are dominating the fashion world now, were inspired, you know, by, you know, fans. So the fact that it's a brand is still, you know, relevant to people in different ways, gives us a great building. Like, I would rather be trying to kinda help people connect to this brand with so much history and legacy than trying to build a brand from scratch. You know? I think it provides a good foundation. Like's aspiration is to build iconic, long-lasting brands. So when you think about iconic brands that have been around for 55, you know, longer periods of time, that's what the goal is. And so, and those brands have gone through research, you know, any iconic brands gone off, of kinda laws and growth. And so for us, this is just really, you know, the second chapter of something that's gonna, you know, be a part of our community and our culture for years ago. [00:44:45] Dan Runcie: Yeah, for sure. And for you specifically, if we zoom out a bit, looking at the past six years since you've been there, we definitely talked a lot about wins, a lot of the successes. But are there any setbacks or are there any missed opportunities that you look back on, especially the past six years since you've been there being like, oh, I wonder if we did this differently with this brand. I wonder if we did that differently? [00:45:07] Tarik Brooks: Yeah, I think for us, one of the things I appreciate about Puff and it's a value that we both share, which you know, you look at everything as like a learning opportunity to say like maybe the outcome didn't go your way, but there was plenty of stuff you could learn from if you embrace the opportunity the right way. So like I look at the fact that it was back in was announced as an opportunity. We saw the value of the team and the value of the assets all around. You thought it was a great opportunity, pursued it. You know, the group that we were part of didn't win, but through that process, learned a ton about that space. You know, I met great people, you know, business partners and relationships that we still engaged with in different things today all came from that opportunity. So like, you know, while, look, I would've loved to be able to win that deal or bring that home, you know, I think there's a lot that comes from it. It sets us up for the things we do, you know, when I think about, David, we talked about the Revolt Summit earlier, right? Like, you know, as we were building the Revolt Summit, you know, we bring it back after, I think a year off. And then in 2020 the pandemic hit. So we gotta basically shut it down and go virtual. But like coming outta those were things we learned about how we're gonna in the future. So this year, you know, the biggest Revolt Summit ever, how's Metaverse versus online? Like all those things coming around. Again, learnings that you utilize going forward. And so, you know, whether it's you thinking through every single flavor in the portfolio or every single bab in the artist roster, even the ones that don't work out the way, you know, you want them to work out their stuff. You can learn from that help, impact and help you to be better as you move forward. That's the way we think. You know, and I talk all the time about just, you know, transparently looking at the things that go right and go wrong and making sure we're learning.[00:47:05] Dan Runcie: Can we actually talk a little bit about the Carolina Panthers one specifically? Because I know you all said that you didn't win the bid, but was it an aspect of being outbid or the owners or someone just choosing someone different? Like how did that all go down? Cause I remember the headlines about it. I remember that there were a few other prominent black public figures that were in that ownership group too.[00:47:27] Tarik Brooks: Yeah, I mean, look, what I would say is, you know, the person that you know ended up winning the bid, I believe, if I remember correctly, had, you know, the highest bid relationship. I think from that perspective, he kinda knew the league, well, and, and was prepared in a number of different ways to be able to take it down. And I would just say the group that we were part of kinda fell short in that way. But what's interesting is, you know, the number, and I just can't remember real time, the exact number he ended up paying for. When you look at the number that people think that the Washington Commanders are gonna command, and the number that the Denver Barcos commanded. You know, while that number he paid was high at the time, you know, it's not even half what somebody might pay for the Washington Commanders. And so perspective, you're willing to pay for something. You gotta live with the fact that there's just maybe willing to pay more for it than you. Right. And so, you know, we ended up being a part of a really sharp group that, you know, had thought really hard about, you know, what was in this case. You know, we rounded. So, you know, again, it's one of those things you learn from, right? Like, you know, sports, entertainment, and business is very unique. You know, assets, you know, come available at different points in time. It's all about thinking about, you know, what do you think the asset is worth? What do you think you can do with it, you know, to translate to what you think it should be worth. And somewhere in that analysis you get to what you think you should pay for, right? And that's where you kinda make your move. And in that case, you know that there were just folks willing to pay for. [00:49:12] Dan Runcie: Yeah, no, I think that's a good point too. Cause I feel like I might be misquoting, but I feel like the Panther's bid was somewhere, I think it was under 3 billion at least.[00:49:20] Tarik Brooks: Yeah, I believe you're right. I wanna be careful. I just don't remember exactly. But yeah, I remember it being less than 3 billion and I think the number they're saying for Washington Commanders now, like 7 billion and so I imagine, you know, like when you think about where the value of that Panthers is going, probably going. They probably did really well. So I mean, again, and we believed it was gonna do well and continue to do well. I mean, when you look at the size of the deal, I guess Google or YouTube just did it with the NFL. The NFL is a platform, right? When you look at, at least for the last couple years, I haven't seen 2022. When you look at the list of the top 50 watched things on television every year, 40 plus of them are football games. Right? Right. It's just that powerful of an entertainment platform, so therefore commands the prices of command. [00:50:12] Dan Runcie: Yeah. Well, hopefully. Whether it's this group or some combination of others that we know we're interested in. Hopefully we see something happen soon in the sports ownership space. But this was great. I know we covered a bunch of topics in this one, and before we let you go though, is there anything that you didn't cover that the audience should stay looking out for or that we should be thinking about moving forward?[00:50:34] Tarik Brooks: Yeah, I think 23 is a year that the audience should look out for a lot from, from the Combs organization. You know, music out of Love Records, including album and power, global e-commerce platform. Kinda reimagining how, you know, black people circulate dollars in our community. You know, the cannabis venture closing and beginning to build brands and establish meaningful footprints in the markets that it's in. There's just a lot of new things in 23, so there will be a lot coming outta our camp that we're super excited about, and so it's gonna be big. [00:51:08] Dan Runcie: We'll keep our lookout for that, man. All right. Appreciate you spending the time, man.[00:51:12] Tarik Brooks: Thanks so much, man.Take care.[00:51:14] Dan Runcie: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat. Post it in your Slack groups. Wherever you and your people talk, spread the word. That's how capital continues to grow and continues to reach the right people. And while you're at it, if you use Apple Podcast, go ahead. Rate the podcast, give it a high rating, and leave a review. Tell people why you like the podcast. That helps more people. Discover the show. Thank you in advance. Talk to you next week.

This week turned on a dime when the death of Stephen "Twitch" Boss was released.  Please check on your strong friends!!!    Megan Thee Stallion is in court and the bombshells are dropping daily.   Diddy welcomes child #7 and we find out what these young girls are into. 

“Gotta Move On” is the first single from Diddy's upcoming album, which will be released later this year on his new R&B label Love Records in partnership with Motown. --- Send in a voice message: https://anchor.fm/wvuncommonplace/message

Paramore's influence is all over the airwaves and interwebs these days. We revisit one of Mike's favorite bands with the help of recording artists and founders of Enemy Love Records, Emma Fradd & David Kruse. In this episode we discuss: - Losing your innocence - Fake happiness - Can you choose joy? - The relief of hitting rock bottom - What is hope & how do I get it? - Why we sin - The ritual of grief - Authenticity & CreativityEpisode 52 Show Host: Mike Tenney Show Page: https://www.awakencatholic.org/pop-culture-catechism/paramores-last-hope-w-emma-fradd-and-david-kruse Join my Patron Community www.PopCultureCatechism.com

In this special sneak preview of new series Caresha Please, host Yung Miami welcomes the one and only Sean "Diddy" Combs for an intimate chat about fatherhood, his new R&B label Love Records, the story behind “Rap Freaks,” the truth about their relationship, toxicity, and more.

0:08: This is the game where Nic Cannon's new mixtape gets a name change. Where Chris Rock gets invited to host next year's Academy Awards. And where Ludacris buys himself a private jet after getting his honorary degree from Georgia State University.7:10: Now let's takeoff8:41: Future has a new album out. Future 1st week sales were pretty good. People like Future. But did The Pilot, Kea, and Donte Hargrove of The Talk My Credo Podcast picked up on the trap vibe that Future has been selling since 2010,20:06: The Pilot and the Henny badgers show their affection for Mr. Morale and the Big Steppers. Kea tells America her favorite song. Donte tells America how Kendrick is the culture. And the pilot expresses hoe K Dot used the “2 Pac” card when he featured Kodak Black on the album. If you are a K Dot fan, you will like this segment. If you are not a fan of Kendrick, listen to the Future album review again ha ha ha.31:18: In honor of Puff Daddy's new label, Love Records, The Pilot, Kea and Donte fantasy book the artists that will collaborate with Diddy to create some R&B hits. This segment is funnier than what it should have been. You're welcome.39:41: Is Ludacris and Anthony Anderson flexing or capping for how they graduate college? You need to listen to the fun, to have some fun. 49:20: Casanova, Young Thug and Gunna are just some of the latest artists that are being jailed or about to be due to allege gang violence. So, The Pilot asks Kea, Co-Pro Smartz, and Donte are we killas? Or are we entertainers? Thank you for 90 weeks of listening.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Catch up with the Monday crew as they lock in on the following topics" RIP LIL Keed & the people that lost their lives Buffalo Mass shooting Thoughts on Kendrick Lamar's new album Young Thug/Gunna/YSL & RICO charges Did Freddie Gibbs get beat up and chain snatched in Buffalo allegedly due to Benny the Butcher Beef - 2nd time in a few months in NY Diddy's new label - Love Records & Billboard Music Awards thoughts Shoutout to NBA Youngboy for his RIAA plaque to commemorate his 100 gold and platinum singles Fans Injured At Lovers & Friends Festival After Alleged Gunshots Were Heard QOTD - Top 5 Storytelling Rappers? --- Support this podcast: https://anchor.fm/amor351-king/support

Stamps: (0:01) - Intro - Wale " The Breakup Song " (3:34) - Wale and The Blog Era Appreciation (13:48) - Top 5 blog Era Tapes Ft. Joe (30:01) - Top 5 Wale Projects (37:18) - Arri's Wave Of The Week - Toro Y Moi " The Loop " (44:11) - Puff starts " Love Records " (52:15) - YSL RICO Case (1:00:26) - Jokic Wins MVP/NBA playoff report (1:16:51) -Los's Wave Of The Week - Schoolboy Q " Hoover Street " (1:25:17) - Wrasslin Wrecap Ft. Sir Frass (2:37:00) - Su's favorite blog era tapes (2:49:59) - Joe's Wave Of The Week - Kendrick Lamar " Fear " (2:59:02) - Su's Wave Of The Week - Ransom & Rome Streetz " All I Know " 3:03:32- sign off --- Send in a voice message: https://anchor.fm/gybo/message Support this podcast: https://anchor.fm/gybo/support

M. Teezy & Dimitri discuss new music such as Kendrick Lamar's "Mr. Morale & The Big Steppers" album and whether or not it was worth the five year wait and how it compares to DAMN., Jack Harlow's "Come Home The Kids Miss You" album and if it meets the hype that has been built since his debut, Method Man's "Meth Lab Season 3: The Rehab" album and how he must be drinking from the fountain of youth with the way he hasn't lost a step, Diddy's Love Records label with Motown and if that'll bring back R&B music to the forefront and so much more!

The cameras are almost ALWAYS rolling according to Executive Producer Danielle King from The Kardashian's. We will witness in real time Khloe Kardashian's reaction the moments she found out about Tristan Thompson's newest addition... Diddy has a new R&B label OFFICIALLY on Motown Records, Love Records!...Mike Tyson will not be charged for boxing in the "Sky High Club"...Vivica Fox shares her disdain about Kevin Samuels and her lack luster farewell to him has the internet chatting... How much it just TOO MUCH INFORMATION to share?! Would you tell the WORLD WIDE WEB about you STD's and breakouts?! You've got to hear this clip! See omnystudio.com/listener for privacy information.

In this episode we showcase a few of our favorite vinyl records in our collection! some of them we love for the story of when we got them, some because of the vinyl color, and some for multiple reasons! this episode is best viewed visually, watch us on YouTube here: https://www.youtube.com/channel/UCmyDf4ZP_nOMa75J5WNSTqA

Episode #18. Welcome Meditation 0:00 - 5:20, "Back Porch" 5:20 - 7:30 (Song), Smile and Surrender 7:31 - 11:44, "Look For Me" 11:45 - 15:22 (Song), Search Within (15:23 - 25:58), Football Inspiration (Lessons from Stafford and Burrow) (25:59 - 29:32), Qualities of True Practice (29:33 - 40:12), "Salvation" Thoughts and Song (40:13 - 50:00), Thank You and Acoustic Blues Guitar Interlude (50:01 - 54:33), The Virus of Hatred, What Is My Essence? Ending Meditation (54:34 - 62:35). Comments are welcome and can be sent in via Lazer's contact page. All songs written and performed by Lazer Lloyd.Lazer Lloyd's music and podcast are published by Lots of Love Records

Episode #17 What to do when peace of mind cracks? Is a new teacher the solution or is it something more fundamental and close at hand? Featured Song, "Letters" Comments are welcome and can be sent in via Lazer's contact pageAll songs written and performed by Lazer Lloyd.Lazer Lloyd's music and podcast are published by Lots of Love Records

Sami Ruokangas käsittelee muutaman vuoden parhaiden levyjen listoilta ulos jääneen julkaisun kuten Deep Purple, Don Airey & Friends, Bernie Marsden, Black Label Society, Alice Cooper, Gojira, Georgia Satellites, Whitesnake, Judas Priest ja Rolling Stones. Jakson Spotify-soittolista: https://open.spotify.com/playlist/4aEuqomdWkP14B2fLI8RST?si=318268854dde4ca6 The Night Flight Orchestra, Phantom Spirits, Burn For Me, Deep Purple, Saxon, Yardbirds, Cream, Peter Green, Fleetwood Mac, Havana Black, Steven Tyler, Billy Gibbons, David Gilmour, Love, Huey ”Piano” Smith, Aerosmith, Ray Charles, Little Feat, Bob Seger, Don Nix, Freddie King, Booker T. & the M.G.'s, Allman Brothers, Led Zeppelin, Spencer Davis Group, Mikko Alatalo, Love Records, Aki Blomberg, Eric Clapton, Steve Winwood, Jethro Tull, Bob Dylan, Lynyrd Skynyrd, Phil Spector, Gary Moore, Rainbow, Whitesnake, Colosseum II, Carl Sentence, Nazareth, Ritchie Blackmore, Beethoven, Graham Bonnet, Laurence Cottle, Black Sabbath, Headless Cross, Tony Martin, Simon McBride, Jon Finnigan, Steve Bentley-Klein, Dan McCafferty, Bill Ward, Persian Risk, Motörhead, Phil Campbell, Albert King, B.B. King, Chess Records, Micky Moody, Supersonic Blues Machine, Kim Wilson, Fabulous Thunderbirds, Rory Gallagher, John Mayall, John Gorgon, Jim Russell, Bob Haddrell, Alan Glen, Zakk Wylde, Ozzy Osbourne, Ian Gillan, Pride & Glory, Gov´t Mule, The Animals, Nina Simone, Mastodon, Sepultura, Steve Hunter, Peter Gabriel, MC5, Wayne Kramer, Cherry Red Records, Jerkin´ Crocus, Mick Brown, Ian McLagan, Faces, Tony Iommi, Adrian Vandenberg, Jimmy Page, Mokoma, Stoned Statues, Uriah Heep ja Orange Goblin.

“It was 2003, and I came to NYC with Greg Cornelius who is a saxophonist and composer at Bowling Green. And he and I were driving in his Dodge Caravan and I think we were listening to Music for 18 Musicians, and it was raining, and I remember seeing the city lights of New York, and just being overwhelmed with this idea that I need to be here.” Erin Rogers is a saxophonist and composer based in New York City. She is co-artistic director and core member of thingNY, Popebama, New Thread Quartet and Hypercube. Her music has been performed at the Prototype, Ecstatic, and MATA Festivals (NYC), Celebrity Series (Boston), Edmonton Fringe Festival, the Hamburg Elbphilharmonie, Centro Nacional de las Artes (Mexico City), and NYmusikk Bergen (Norway). Rogers is a member of LA super-group WildUp, and performs with the International Contemporary Ensemble, Talea, and Wet Ink. She is a D'Addario Woodwinds Performing Artist and Chamber Music Society of Lincoln Center Teaching Artist. Rogers can be heard on New Focus Recordings, New World Records, Edition Wandelweiser, Gold Bolus, Love Records, INNOVA, New Amsterdam, and Relative Pitch labels. www.erinmrogers.comI have known Erin for a few years now. Specifically, before leaving New Jersey and heading to Bowling Green, OH to start my graduate work, I saw her saxophone quartet, New Thread Quartet, perform at a church in Jersey City, NJ. After the performance, I introduced myself. We ended up on the topic of me going to grad school and it turned out she is a BGSU alum! What little I knew about Bowling Green, and here I am in NJ meeting someone who went through the program and is doing such awesome work! I've been a fan ever since. Erin is so incredibly hard-working, juggling a varied and wide-ranging freelancing career as a composer and performer in NYC. Recently, she released a solo album titled 2,000 miles, which you can purchase on Bandcamp. Our discussion center almost entirely on the making of 2,000 miles, topics like her improvisational/compositional process, the recording process, traveling from NYC to her hometown in Alberta, Canada, the artistic solutions that grew out of being quarantined, and so much more on episode 24 of the Making Noise Podcast. I hope you enjoy it!—-Follow Erin's Work: www.erinmrogers.com Erin's album on Bandcamp: 2,000 Miles Check out some awesome up-coming performances of Erin's (NYC):Dec 2 - Marilyn Shrude 75th Birthday Celebration // New Thread Quartet, Lost Dog, Momenta QuartetDec 11 - Works by Popebama + Rick BurkhardtDec 15 - Hypercube: Works by New York Women ComposersDec 17 - Kathy Supové premieres Constancy // Bargemusic: Here & Now Winter Festival Day 2—-Watch the podcast on YouTubeListen to the podcast on Spotify, Apple Podcasts, Stitcher, iHeartradio, and my website where you can listen to music, purchase scores, and learn how to commission a new piece for your ensemble.

Twenty-one in twenty-one! Hold on to your seat while Mesmic brings the Shadow Project saga back with a bang. Volume 21 features gritty Techno and crunchy Tech House that eventually simmers down to serene Dub and Deep House vibes. Put the balls to the wall and go full throttle!This podcast episode features content created or published by Black Bubble Records, Buzzin' Fly Records, Lobster Theremin, Love to Love Records, mYnz2rec and others.Max TenRoM - Derkater [Original Mix]Emilove & Emiliano Naples - Black Hole [Original Mix]D. Dan - If Ya Name's Not Dan Ya Not Comin In [Original Mix]Flourish AU - Go To Ground [Extended Mix]Asok - 30 Hours [Original Mix]nthng - Microdose [Original Mix]nthng - 1996 [Original Mix]HLLW - Stay [Original Mix]Jorge Pastrana - Back to the 90s [Extended Mix]Lovebirds - The Beat Goes Boom [Original Mix]

Twenty-one in twenty-one! Hold on to your seat while Mesmic brings the Shadow Project saga back with a bang. Volume 21 features gritty Techno and crunchy Tech House that eventually simmers down to serene Dub and Deep House vibes. Put the balls to the wall and go full throttle!This podcast episode features music published by Black Bubble Records, Buzzin' Fly Records, Lobster Theremin, Love to Love Records, mYnz2rec and others.Max TenRoM - Derkater [Original Mix]Emilove & Emiliano Naples - Black Hole [Original Mix]D. Dan - If Ya Name's Not Dan Ya Not Comin In [Original Mix]Flourish AU - Go To Ground [Extended Mix]Asok - 30 Hours [Original Mix]nthng - Microdose [Original Mix]nthng - 1996 [Original Mix]HLLW - Stay [Original Mix]Jorge Pastrana - Back to the 90s [Extended Mix]Lovebirds - The Beat Goes Boom [Original Mix]

Segment Originally from Kronicles of Kool Live Youtube Stream.Link Below. Like, Share, Subscribe, Turn on notifications and stay tuned for more Kronicles of Kool Live Shows and content from the Channel Of Kool. Black Rob, rapper and former Bad Boy artist, dies at 52. Rob's former label mate, Mark Curry, said that he was with the rapper when he died. “Rest in peace to my brother," he said. Black Rob, the New York City rapper formerly part of Sean “Diddy” Combs' Bad Boy label, has died. He was 52, according to the New York Times. Rob's former label mate, Mark Curry, announced Rob's death in two videos posted to Instagram on Saturday, and Variety has confirmed his passing through additional sources. “I don't know where to begin this,” Curry said in the first video. “But I thank everybody for the donations. Rob passed away about an hour ago.” In a second video, Curry said that he was with the rapper when he died. “Rest in peace to my brother. I was there with him. I was there with him,” Curry said. “Puff, I ain't talked to Puff in 15 years — we talked today,” Curry continued, referring to Combs. “This is the beginning of a new us. Rob made sure he knew what he had to do before he parted this world to make sure we all alright, and that's what he did. Bad boy for life, yo.” Rob's cause of death has not been confirmed, though Rob's friend DJ Self posted on Instagram that he was suffering from kidney issues last week. On April 11, Curry and producer Mike Zombie started a GoFundMe to help Rob pay his medical bills. The next day, Curry said on Instagram that Rob had been released from the hospital and mentioned he planned to go see him later to help with his recovery. In another video, Curry said Rob was put on dialysis. “This Gofundme is to help him find a home, pay for medical help & stability during these trying times. We've lost a lot of legends and we can't afford to lose anymore. This is my way to try and help,” its description reads. Donations poured in following the announcement of his death. Diddy Calls Out corporations, But Should he point the finger at himself. The Jessie Woo was approached to do a show with Revolt Tv and Media, but Revolt didn't wanna pay. Who Should have Paid Rob's medical bills? Maybe Diddy? Diddy decided to pay for funeral costs. But..too little too late? Many on Social Media have said that he wants to do this because it's cheaper than paying Rob's family publishing rights etc. Why wasn't Rob's Go Fund Me Just paid out flat? Especially due to the money Black Rob's hit single "Whoa" brought into the Bad Boy Label. While at Killer Mike's birthday, Diddy had to find a way to put the spotlight on himself, so he decided this was the perfect time to announce his new record label. Puffy proclaimed, "I'm back in the music industry doing what I love and this is one of the first artists signed to Love Records." He introduced singer/songwriter Stacy Barthe. Barthe has been nominated for a Grammy for her work with Katy Perry, Rihanna, Miley Cyrus, Nipsey Hussle, and Beyonce. What do you think about Diddy's business ethics? In Creative Collaboration With CTOWN #blackrob #diddy #podcast #hiphop #music Youtube Visuals: https://www.youtube.com/watch?v=DU41wWRohPs

This episode is in honor of the one year anniversary of Lazer Lloyd surviving COVID-19. He was born on Mother's Day and left 47 days in his room in personal quarantine on his birthday last year. This is his first livestream out in nature as he walked into the world to get back to performing and sharing thoughts - the birds seem to know it and you can hear them singing throughout this very special recording. Back to the Forest (0:00 - 6:47), "Riverside" (song) (6:47 - 11:40), "Out of the Rat Race" (11:41 - 20:04), "Forever Young" (song) (20:05 - 26:45), What Age is Young? (26:48 - 56:49), "Never Give Up" (song, tribute to Mom, prayer for peace) (56:50 - 1:00:04)Original Facebook Livestream click hereAll songs written by Lazer Lloyd except "Forever Young" by Bob Dylan (published by UMPG) Lazer Lloyd's music and podcast are Published by Lots of Love Records, 2021

Simple steps to reduce despair and violence in the world around us. The ancient paths of wisdom all provide important pathways to truth but also include harmful generalizations. Global violence, pain, and instability is calling us to come up with something new.Guitar Welcome (0:00 - 8:11), Reaching the Quiet Mind (8:12 - 13:58), Message for Men (13:59 - 25:45), Resting in One Soul One Essence (25:46 - 31:34), Letting Go of The Stamps (31:35 - 1:05:36), What Are Holy Books? (1:06:00 - 1:07:35), Guitar Cool Down and Thanks (1:07:36 - 1:15:23)Lazer Lloyds music and podcast are Published by Lots of Love Records, 2021

Electric Guitar and Welcome (0:00 - 1:15), "One More Reason" with "Paradise City" interlude (song) (1:15 - 7:53), Parents and Teenagers (7:54 - 10:08), The Lion Cub and The Sheep (story) (10:09 - 13:59), "Inside" (song) (14:00 - 17:53), Beyond Form and Name (17:54 - 26:29), "Backstreets" (song, final thoughts and blessings) (26:30 - 40:45)All songs written and performed by Lazer Lloyd except "Paradise City" by Guns and Roses published by UMPG Lazer Lloyd's music and podcast is published by Lots of Love Records

Acoustic Guitar Welcome (0:00 - 1:52), Mind Clearing (1:53 - 2:38), "Back Porch" (song) (2:39 - 5:16), Making Deep Change (5:17 - 8:05), "Change" (song) (8:06 - 11:59), Being In The Present (12:00 - 15:39), Acoustic Meditation (instrumental) (15:40 - 20:20), "Look For Me" (song) (20:23 - 23:29), Attaining Peace (23:32 - 30:26), "Salvation" (song) (30:28 - 35:56), Rebuilding Relationships to Heal the World (35:58 - 39:53), "Back to the Mountain" (song) (39:54 - 47:33)All songs written and performed by Lazer LloydLazer Lloyd's music and podcast is published by Lots of Love Records

Thoughts and guitar combine to create a space for contemplation. The journey to find truth inside, to let go, to be completely joyful and alone. (0:00 - 1:19:27), "Change" (song) (1:19:28 - 1:21:11), New directions, ecstasy of life force release, jumping into the great unknown (1:21:12 - 1:53:05)."Change" written and performed by Lazer Lloyd.Lazer Lloyd's music and podcast is published by Lots of Love Records

Acoustic Guitar Welcome (0:00 - 2:59), Transcend (3:00 - 11:37), "Backstreets" (song) (11:38 - 15:25), Knowing Ourselves (15:26 - 20:34), Goshen Jam for Johnny B (20:35 - 21:44), Beyond Space and Time (21:45 - 22:40), "I'm Alive Today/Paradise City" (medley) (22:40 - 26:24), Rock and Roll is Transcendent (26:25 - 30:44), Prayers for Peace and Reflections on January 6 (30:45 - 35:53) This episode is dedicated to our friend NY Fire Fighter Michael Kane who was tragically taken from his family by COVID-19 after many years saving lives with the NYFD. Sending thoughts and prayers to everyone who has suffered through this difficult time. Episode 5 was recorded on Lazer Lloyd's Sunday Live stream January 10, 2021. All songs written and performed by Lazer Lloyd except for "Paradise City" by Guns and Roses, Geffen Records, published by UMG. Lazer Lloyd's music and podcast is published by Lots of Love Records

Intro and "Green River" (song) (0:00 - 7:37), Stillness Opens the Door (7:38 - 28:31), "Love It Don't Come Easy" (song) (28:32 - 34:08), Thanks (34:09 - 34:38), "Born To Love You" (song) (34:39 - 46:52), Light Through the Cracks (46:53 - 47:55), "Caveman of this Heart" (song) into Infinite Glide (meditation) (47:56 - 51:22) All songs composed and performed by Lazer Lloyd except "Green River" composed by John Fogerty, Concord Music Group, Inc. Lazer Lloyd songs published by Lots of Love Records

Inner Peace and Tony's Car (0:00 - 6:00), "Inside" (song) (6:05 - 8:16), Welcome and Thanks (8:22 - 9:33), "World Fallin" (song) (9:34 - 12:42), Emptiness to Rebirth (12:42 - 23:00), "Backstreets" (song) (23:01 - 27:30), "Full Tank" (song) (28:00 - 31:47), "Many Roads" (Gospel Bluegrass thoughts and music dedicated to Tony Rice) (31:48 -44:37), Soul bathing meditation (44:38 - 52:31)Lazer Lloyd's music and podcast are published by Lots of Love Records, 2021

This second episode of the "Into The Heart Center" series features a thirty minute guitar and spoken guided meditation.An "Inside You" Short Clip. Lazer Lloyd's music and podcast are Published by Lots of Love Records, 2021

Into The Heart Center (0:00 - 35:40), Free To Spread Goodness (35:41 - 41:00), Story "Seeking Truth" (41:02 - 49:43), Enjoy The Journey, Do The Work (49:44 - 1:02:30), "Change" (song) (1:02:30 - 1:05:50), Change and Newness (1:05:51 - 1:25:35), "Backporch" (song) (1:25:36 - 1:27:36), Thanks (1:27:37 - 1:31:00), "Love and Music" (song) (1:31:01 - 1:33:23)Lazer Lloyd's music and podcast are Published by Lots of Love Records, 2021

Наверное, впервые Артур Ямпольский забрался так далеко на север и сегодня мы слушаем и говорим о втором студийном альбоме «Tombstone Valentine» финской рок-группы Wigwam. Альбом появился в ноябре на финском лейбле Love Records в Хельсинках. Одна из лучших работ группы была спродюсирована американским музыкантом Kim Fowley.

Наверное, впервые Артур Ямпольский забрался так далеко на север и сегодня мы слушаем и говорим о втором студийном альбоме «Tombstone Valentine» финской рок-группы Wigwam. Альбом появился в ноябре на финском лейбле Love Records в Хельсинках. Одна из лучших работ группы была спродюсирована американским музыкантом Kim Fowley.

Founded in Stockholm, Sweden in 1968 (from the ashes of Pärson Sound ) - Disbanded in 1972 This band is the second incarnation of the Swedish late 60's psychedelic musical collective, which started as PÄRSON SOUND, and which eventually evolved as TRÄD, GRÄS OCH STENAR, inspired by the American minimalist composer TERRY RILEY among spontaneous underground rock movement aesthetics. The name change was innovated by Bo Ander PERSSON, and it was taken from a name of American company producing agricultural machines. In year 1968 they released the album "Sov Gott Rose-Marie", which was published by the Finnish record label Love Records. This album combined psychedelic rock, folk elements, jazzy improvisations, political statements and natural soundscapes, creating a record fitting logically to the maturing of the group's musical vision. Before the band evolved as to TRÄD, GRÄS OCH STENAR they yet released album "Hemat" with a shortened band name HARVESTER. The spontaneous music of this group was really ahead of their time, and anybody interested of early chaotic krautrock should check out their records, which have now been re-released as vinyls and CD's featuring interesting long jams as bonus tracks. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Track listing: Dead Or Alive - You Spin Me Round (Like A Record) Ames Brothers - Love Is A Many Splendored Thing Glenn Miller and his Orchestra - Pagan Love Song Bachman-Turner Overdirve - Flat Broke Love Bad Habits - Love You Too Bucks Fizz - Easy Love Dawn (Feat. Tony Orlando) - I Can't Believe How Much I Love You The Original Delaney & Bonnie - Gift Of Love Exile - Woke Up In Love Fallenrock - Love's A Game Fallenrock - We Got Love The 5th Dimenson - Together Let's Find Love (Live) Four Tops - You Can't Hurry Love (Live) The Cowsills - The Sunshine Of Your Love (Live) Firefall - Be In Love Tonight Friendly Enemies - Love At First Sight Friendly Enemies - Steal Your Love Kim Wilde - Love Blonde Natural Gas - I Believe It's Love Queen City Kids - Crazy In Love Raydio - Is This A Love Thing? Rossington Collins Band - Misery Love Company Stillwater - April Love The Original Delaney & Bonnie - Love Me A Little Bit Longer Natural Gas - Once Again, A Love Song

Scott talks with label manager, Nate Krenkel.Download our Free Guide for indie labels at http://www.otherrecordlabels.com!

Chris Difford of Squeeze talks about playing live, collaborating with Glenn Tilbrook, and the story behind his songs. Squeeze – Innocence In Paradise (The Knowledge, Love Records, 2017) Squeeze – Please Be Upstanding (The Knowledge, Love Records, 2017) Squeeze – Departure Lounge (The Knowledge, Love Records, 2017) Chris Difford – 1975 (Cashmere If You Can, Smmc, […] The post Chris Difford – Squeeze appeared first on The Strange Brew.

This week we've got an exclusive mix of new, mostly unreleased original material from the inimitable Oli Furness. His label, Music is Love Records is one we've been following for some time now, with stellar tunes from Maxwell, Paul Johnson & the man himself making their way into our crates and never really leaving. Over the past few years Oli has hosted and shared the bill with such monumental artists as Kerri Chandler (Official), Kenny Dixon Jr aka Moodymann & MARCEL DETTMANN at his regular Music Is Love Club club night at Sankeys, Manchester, which gives you an sense of the calibre of his skills as both a producer and performer. https://soundcloud.com/music-is-love-records-mcr https://soundcloud.com/wally-00 Tracklist Come ON Kerrier (Head HighRemix) - Kerrier District Shake Dat Ass - Anil Aras Call My Name - Maurice Donovan I Finish - Casio Royale Moving Baby - Paul Johnson You - Chambray The Music - Abstract Now I Always Liked Grime - Mall Grab Work Out (Palace Refix) - Merimell The Throwdown - BodyJack Crash Gordon - Oli Furness Reload (Jimmy Edgar Edit) - Dj Spookie Flip A Coin - Hawkes & Blake Oli Furnes Guest Mix Life Goes On - Soundstream Opps - Palace Hell House - Casio Royal Flipside - Champion + Four Tet Light It UP - Mike Midnight SuperSmash - Fjaak Saturate - Noface Stupid Things I Do - Randomer Moscato B - Anthony Naples The Avalanche - Wk7

One of our favorite artists returns to Large once again to mix up a electrifying podcast. Pure underground vibes for dancefloor enthusiasts. Track listing: 1.Irfan Rainy, Rex leon, Baba Isreal - We Came to Move You (Kudos Music) 2.Prunk - Life (Moulton Music) 3.Sean Collier - Spirt, Dairo D'Attis Remix (SK Supreme Music) 4.Prunk & Bas Roos - Feeling High (Inner City Records) 5.Roland Nights - Ready to Go (Large Music) 6.Oscar Barila - Falling, Sebb Junior Remix (i! Records) 7.Ander B - Mind Tricks, Homer Esponasa's Stripped Mix (Moulton Music) 8.Mystep & Markenza - Gonna Do, Nils Penner Mix (Sex Panda White) 9.Sidney Charles - Vibe (Moda Black) 10.Tuccillo - Witness (seamless Recordsings) 11.Yume Kaneko - Keep Pushin (7 Love Records) 12.Jacob Bech - The Kibosh (Large Music) 13.Manuel De La Mare, After Tea - This is Warming Up (Hotfingers) 14.Prunk & Bas Roos - What I Do (Inner City Records) 15.Herb LF - Down to the Sound (Farside Records) 16. V-Circle Track (Sole Channel Music)

2 hour set recorded live on 2012.10.27 by Robby BlackTAGS: AfroDeep, DeepHouse, SoulfulHouse, AfroHouse, Deep and Soulful House Music, DJ Set(Tracklist embedded in lyrics section of each MP3)IDTitleArtistLabelDate113.10.11 13.11.11 (Original Mix)Martin IvesonAtjazz Record Company 20122AAPTOBG (alix alvarez remix)BenedictSurface 20123Is It Possible (Rocco Deep Instrumental Mix)Steal Vybe Feat. Alexis SimmonsSeasons Limited 20114Let's HopeRippertonTamed Musiq 20125La La (Deep Character & Mad Boss Remix)Angel ALiberate 20126When Love Calls (Rebellion Sax Dub Mix)David Shaw & Carolyn HardingKontinuous Music 20127The Timtrack (Bump Mix)Luis RadioWonderwax 20128TrumpetN/A 20109Feel You (Original Mix)Dene AntonyUndertechnical Recordings 201210Get Over it (Sun-El Sithole Remix)BucieFoliage Records 201111Protocol (Original Mix)Ross EvanaRecovery Tech 201212Thinking About Your Body (Louie Vega Dance Ritual Mix)Louie Vega + Josh MilanVega Records 201213Searching for SomethingChristoSuperficially Deep 201214Close My Eyes (Atjazz More Than a Remix)deepa GROOVES feat Jemmalyndeepa grooves 201215Whistle BumpDeodatoWarner Bros. 197816DarkjazzMetricaMussen Project Records 201217More LifesDJ SteefToy Tonics 201218Need UBoghosian + TorquatoPlastic City 201219H.O.U.S.E (Mr. V Unreleased Groovy Mix)Mr. VSole Channel Music 201220Soul Eaters (Original Mix)Max RioloOpen Bar Music 201121First To Say Goodbye (Rocco Deep Mix)DJ Micks feat. Robin LatimoreTribe Records 201122Take Me Over (Gorge Remix)The Quasar & The PressureReady Mix Records 200923Think About (Kupper's Nudeep Dub)95 North & Big D Vs Eric KupperHysteria 201224ShakaTony BarbatoFavouritizm 201225JazzjetMisho7 Love Records 201226Hallelujah Anyway (Larse Vocal Mix)Candi StatonDefected 2012Follow on Twitter @BassicDeepHouseDownload BDHS018

2 hour set recorded live on 2012.10.27 by Robby BlackTAGS: AfroDeep, DeepHouse, SoulfulHouse, AfroHouse, Deep and Soulful House Music, DJ Set(Tracklist embedded in lyrics section of each MP3)IDTitleArtistLabelDate113.10.11 13.11.11 (Original Mix)Martin IvesonAtjazz Record Company 20122AAPTOBG (alix alvarez remix)BenedictSurface 20123Is It Possible (Rocco Deep Instrumental Mix)Steal Vybe Feat. Alexis SimmonsSeasons Limited 20114Let's HopeRippertonTamed Musiq 20125La La (Deep Character & Mad Boss Remix)Angel ALiberate 20126When Love Calls (Rebellion Sax Dub Mix)David Shaw & Carolyn HardingKontinuous Music 20127The Timtrack (Bump Mix)Luis RadioWonderwax 20128TrumpetN/A 20109Feel You (Original Mix)Dene AntonyUndertechnical Recordings 201210Get Over it (Sun-El Sithole Remix)BucieFoliage Records 201111Protocol (Original Mix)Ross EvanaRecovery Tech 201212Thinking About Your Body (Louie Vega Dance Ritual Mix)Louie Vega + Josh MilanVega Records 201213Searching for SomethingChristoSuperficially Deep 201214Close My Eyes (Atjazz More Than a Remix)deepa GROOVES feat Jemmalyndeepa grooves 201215Whistle BumpDeodatoWarner Bros. 197816DarkjazzMetricaMussen Project Records 201217More LifesDJ SteefToy Tonics 201218Need UBoghosian + TorquatoPlastic City 201219H.O.U.S.E (Mr. V Unreleased Groovy Mix)Mr. VSole Channel Music 201220Soul Eaters (Original Mix)Max RioloOpen Bar Music 201121First To Say Goodbye (Rocco Deep Mix)DJ Micks feat. Robin LatimoreTribe Records 201122Take Me Over (Gorge Remix)The Quasar & The PressureReady Mix Records 200923Think About (Kupper's Nudeep Dub)95 North & Big D Vs Eric KupperHysteria 201224ShakaTony BarbatoFavouritizm 201225JazzjetMisho7 Love Records 201226Hallelujah Anyway (Larse Vocal Mix)Candi StatonDefected 2012Follow on Twitter @BassicDeepHouseDownload BDHS018

2 hour set recorded live on 2012.10.27 by Robby BlackTAGS: AfroDeep, DeepHouse, SoulfulHouse, AfroHouse, Deep and Soulful House Music, DJ Set(Tracklist embedded in lyrics section of each MP3)IDTitleArtistLabelDate113.10.11 13.11.11 (Original Mix)Martin IvesonAtjazz Record Company 20122AAPTOBG (alix alvarez remix)BenedictSurface 20123Is It Possible (Rocco Deep Instrumental Mix)Steal Vybe Feat. Alexis SimmonsSeasons Limited 20114Let's HopeRippertonTamed Musiq 20125La La (Deep Character & Mad Boss Remix)Angel ALiberate 20126When Love Calls (Rebellion Sax Dub Mix)David Shaw & Carolyn HardingKontinuous Music 20127The Timtrack (Bump Mix)Luis RadioWonderwax 20128TrumpetN/A 20109Feel You (Original Mix)Dene AntonyUndertechnical Recordings 201210Get Over it (Sun-El Sithole Remix)BucieFoliage Records 201111Protocol (Original Mix)Ross EvanaRecovery Tech 201212Thinking About Your Body (Louie Vega Dance Ritual Mix)Louie Vega + Josh MilanVega Records 201213Searching for SomethingChristoSuperficially Deep 201214Close My Eyes (Atjazz More Than a Remix)deepa GROOVES feat Jemmalyndeepa grooves 201215Whistle BumpDeodatoWarner Bros. 197816DarkjazzMetricaMussen Project Records 201217More LifesDJ SteefToy Tonics 201218Need UBoghosian + TorquatoPlastic City 201219H.O.U.S.E (Mr. V Unreleased Groovy Mix)Mr. VSole Channel Music 201220Soul Eaters (Original Mix)Max RioloOpen Bar Music 201121First To Say Goodbye (Rocco Deep Mix)DJ Micks feat. Robin LatimoreTribe Records 201122Take Me Over (Gorge Remix)The Quasar & The PressureReady Mix Records 200923Think About (Kupper's Nudeep Dub)95 North & Big D Vs Eric KupperHysteria 201224ShakaTony BarbatoFavouritizm 201225JazzjetMisho7 Love Records 201226Hallelujah Anyway (Larse Vocal Mix)Candi StatonDefected 2012Follow on Twitter @BassicDeepHouseDownload BDHS018