Rodney "LiL Rod" Jones And The Amended Diddy Complaint (Part 7)

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What's up everyone and welcome back to the program. In this episode we're going to pick up

where we left off with that Rodney Jones paperwork and his second amended complaint

filed against Diddy. To 25, upon information and belief, the true nature of defendant scheme

was left undisclosed, was omitted, and or was affirmatively misrepresented,

all defraudulently increased defendant's profits, at least some of which were used to expand

the enterprise, causing further injury to plaintiff Jones, and other unwitting artists, creatives,

musicians, and producers. To 26, upon information and belief, defendant profited

from the enterprise and plaintiff Jones suffered because the enterprise

diminished plaintiff Jones finances due to the 13 months of non-payment, and diminished

plaintiff Jones' health through consistent drugging, and four sexual encounters with prostitutes,

and sex workers. Defendant used the proceeds from their scheme to advance the scheme by funding

and operating their marketing machine, including through the use of the mail, social media,

word of mouth, and interstate wires to sell the illusion that Mr. Combs was serious about the

talents and skills of the artists, creatives, musicians, and producers, and wanted to use those

skills to make music when nothing could be further from the truth. Defendants provided their

artists, creatives, musicians, and producers, with this misrepresentative information,

including via email, all over interstate wireline communication systems, and obtaining free labor,

the distribution of drugs and firearms, as well as prostitutes, sex workers, and minors.

Defendants obtained revenue via wire transfers, documents, and banking transactions that were

exchanged via electronic means, over interstate wires, thereby growing the enterprise,

and causing further injury to plaintiff Jones as described throughout.

227. Upon information and belief, the defendant's scheme was reasonably calculated to deceive

plaintiff Jones' artists, creatives, musicians, and producers of ordinary prudence and comprehension

through the execution of their complex and illegal scheme, to misrepresent the effectiveness of

soliciting prostitutes, sex workers, and minors, and distributing drugs and guns that did not

would not and could not lead to securing Grammy Awards, purchasing $20 million homes,

participating on future projects, $250,000 cash payments, and meeting influential music industry

executives. Plaintiff Jones would not have lived with Mr. Combs for 13 months, missing birthdays,

holidays, and family events, but for the illegal racketeering scheme operated by defendants.

228. Upon information and belief, defendants each had a specific intent to participate in the

overall rico enterprise and the scheme to defraud plaintiff Jones, and each participated in the

enterprise's follows. 229. Upon information and belief, defendant Lucian Charles Grange,

Combs Global, Motown Records, Love Records, and Universal Music Group,

Control and Participate in the activities of the enterprise in a variety of ways as set forth

herein, including but not limited to developing and marketing scores of writing camps and

listening party services that are marketed to innocent, unassuming artists, creatives, musicians,

and producers. 238. Throughout the relevant period, defendant Lucian

Charles Grange and his capacity as CEO of UMG, authorize Motown Records and Universal Music Group

to enter into a general partnership agreement with Sean Combs and Love Records.

As general business partners, each member is responsible for their partner's actions in the

partnership. Defendant Lucian Charles Grange, Motown Records and Universal Music Group,

have an ethical obligation to ensure their business partner Sean Combs and Love Records

were not using the partnership assets to engage in illegal activity. 231. Defendant Lucian Charles

Grange and his capacity as CEO of UMG, authorize Motown Records and Universal Music Group

to provide financial resources to their general business partners, defendant Sean Combs and Love

Records. Defendant Sean Combs and Love Records use the financial resources provided by their

general business partner to solicit through the mail, email, social media, and the telephone,

artist, creatives, musicians, and producers whom they would promise Grammy Awards,

expensive property, participation on future projects, cash payments, and meetings with powerful

music industry executives. Defendant Sean Combs and Love Records,

instructed defendant Justin Combs, Christina Korum and her staff to solicit these artist,

creatives, musicians, and producers who resided in New York, Illinois, California, Georgia,

and Florida. Defendant Justin Combs, Christina Korum and their staff relied on the mail, email,

social media messenger, and telephone to disseminate the misleading information described herein.

Defendant Sean Combs, Love Records, Justin Combs, and Christina Korum did not disclose to the

individuals they solicited the fact that they would be drugged, required to sleep with sex workers,

and forced the work for days at a time without compensation. As it relates to plaintive Jones,

Defendant Sean Combs, Love Records, and Christina Korum controlled his ability to travel.

They did not provide him with full compensation for the work he provided. As a result, Mr. Jones

did not have the finances to return home without Defendant Sean Combs, Love Records,

and Christina Korum paying for it. On several occasions in Miami, Florida, he asked Defendant Sean

Combs and Christina Korum for permission to visit his family for their birthdays and holidays.

Defendant Sean Combs and Christina Korum refused. They went so far as threatening Mr. Jones by telling

him that if he left, he would not be paid for the work he had done. Would not be allowed to return

and would not receive the promised Grammy Awards, expensive property, participation in future projects,

cash payments, and meetings with influential music industry executives.

232. In connection with Defendants acting from New York, these defendants use the mail and

interstate wires to solicit plaintive Jones and artists, creatives, musicians, and producers,

and to use plaintive Jones and the artist's creatives, musicians, and producers to utilize

their talents and labor to produce music and other tangible goods and services without full

compensation, as well as the solicitation of sexual encounters with prostitutes, sex workers,

and the purchasing and distribution of illegal firearms and drugs. Each of these acts was undertaken

with the knowledge and approval of all other defendants to further the goals of their conspiracy.

233. Defendant Lucian Charles Grange, in his capacity as CEO of UMG, authorized Motown Records

and Universal Music Group to provide financial resources to their general business partners,

Defendant Sean Combs, and Love Records. As the financial supplier of Defendant Sean Combs

and Love Records, Defendant Lucian Charles Grange, in his capacity as CEO of UMG, Motown Records,

and Universal Music Group, had a duty to direct and control the manner in which Defendant

Sean Combs and Love Records use the money they supplied. In furtherance of the goals of the

conspiracy, Defendant Lucian Charles Grange, in his capacity as CEO of UMG Motown Records

and Universal Music Group, used the Love album as a ruse to provide Defendant Sean Combs

and Love Records with the financial resources to be used to execute his Rico Enterprise.

Throughout the relevant period, Defendant Sean Combs and Love Records use the financial resources

their general business partners provided to solicit potential artists, creatives, musicians,

and producers. As detailed throughout, they relied on the mail, email, social media, text messages,

and WhatsApp messages to disseminate the misleading information described herein,

and profit from the free labor of these artists, creatives, musicians, and producers.

In addition to the force-free labor, they used their power and influence to force these creatives

to solicit sex workers and to engage in unwanted sexual encounters with these sex workers.

They also use their power and influence to force these creatives to purchase transport

and distribute illegal firearms and drugs. As a general business partner of Defendant Sean Combs

and Love Records, Defendant Lucian Charles Grange in his capacity as CEO of UMG Motown Records

and Universal Music Group are equally liable for the commission of these acts.

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234. Upon information and belief, defendant Lucian Charles Grange and his capacity as CEO of

UMG, authorized Motown Records and Universal Music Group to provide financial resources to

defendant Sean Combs and Love Records through wire transfers to defendant Sean Combs and Love

Records accountant Robin Greenhill. Upon information and belief, Ms. Greenhill,

ensured the wiring, funds, transfer, or cash payments the sex workers were completed.

Defendant Christina Koram through her direct reports, Frankie Santella,

Moibon, and Brendan Paul would negotiate the fees the sex workers received and would ensure

that the workers are paid in one of the matters detailed above. According to plaintiff Jones,

defendant Sean Combs bragged about having several women on a monthly stipend.

According to plaintiff Jones, the women who received these payments are Carisha,

Romeka Brownlee, aka Young Miami, Jade Raimi, aka Jade, and Daphne Joy Servantes,

Narvaez, aka Daphne Joy, who were paid a monthly fee to work as Mr. Combs sex workers.

Based on information and belief, they received these payments the wire transfer from Robin

Greenhill. It is unclear if they were provided the appropriate United States federal tax documents

for these payments or if they independently declared these payments on their taxes.

It is unclear if defendant Lucian Charles Grange, in his capacity as CEO of UMG Motown Records

and Universal Music Group, requested an audit of defendant Sean Combs and Love Records financial

records to ensure the financial support they provided to defendant Sean Combs and Love Records,

as part of their general business partnership was not being used to pay Carisha,

Romeka Brownlee, Jade Raimi, and Daphne Joy for their work.

235. During the 10 years preceding the filing of this action and to the present,

all defendants did cooperate jointly and severally in the commission of three or more of the

predicate acts that are itemized at U.S. Code 18, section 1961, 1A and B in violation of U.S.

Code 18, 1962D, as described in this complaint. 236. Beginning at an exact date unknown to plaintiff,

but within 10 years preceding this filing of action, defendant have knowingly, willfully and

unlawfully participated in a pattern of racketeering activity that continues to this day. 237.

The acts set below racketeering acts follow the same pattern and purpose to defraud the plaintiff

for the defendant's benefit. Each racketeering act involved the same or similar methods of

commission and participants. 238. The defendant's business would not have succeeded without the repeated

predicate acts and the ability to conduct their fraud using mail, telecommunication wires,

interstate travel, international travel, and money laundering. 239. The separate racketeering acts

all relate to each other in that they were a part of a concerted action by defendants to use

the endorsement and channels of the enterprise to operate their business to solicit potential

artists, creatives, musicians, and producers. As detailed throughout, they relied on the mail,

email, social media, text messages, and WhatsApp messages to disseminate the misleading

information described herein and profit from the free labor of these artists, creatives,

musicians, and producers. As detailed throughout, they relied on the mail, email, social media,

text messages, and WhatsApp messages to disseminate the misleading information described herein

and profit from the free labor of these artists, creatives, musicians, and producers. In addition to

the force-free labor, they use their power and influence to force these creatives to solicit

sex workers and to engage in unwanted sexual encounters with these sex workers. They also use

their power and influence to force these creatives to purchase, transport, and distribute illegal

firearms and drugs. All right folks, we're going to wrap up right here and in the next episode

dealing with the topic, we'll pick up where we left off. All of the information that goes with

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