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Tony Bruski
Killers with Tony Brewski here now Tony Bruski.
Here's a case that if you've been around long enough, you may have been paying attention to since 1996. Yeah, to all the OGs out there, this is a, this is an interesting story. There are new revelations that are coming out of the new Curtis 50 Cent Jackson documentary about Diddy that has dropped on Netflix and they are accusations at that. There's some very interesting testimony that is being shared in this documentary and take it for what it is. Diddy has never been charged with anything in connection with the murders of Tupac Shakur or Biggie Smalls. We'll say that off the bat. But.
The theories, the opinions expressed within that docu series.
They'Re worth noting. There's some of the most damning, most critical, most revealing about the inner workings of Bad Boy Records and Bad Boy Entertainment at the time of the murders of both Tupac and Biggie Smalls. With a lot of fingers and a lot of accusations pointing in a direction of one man, that man, Sean Puffy Diddy Combs.
And we're not here to say he had anything to do with the murders. We're gonna discuss though what was.
Revealed in this docu series cuz it certainly is rather interesting, something that probably deserves a little more digging, a little more discussion, a little more.
In terms of, I don't know, at some point, evidentiary hearings. We may be getting that soon considering there's the Keefe D trial that is continually being pushed back as new evidence comes about and new information comes to light. I'm really curious to get your thoughts in the comments section as you watch this, as you listen to this. So please do leave me your thoughts in the comments on YouTube. If you're listening to the podcast Search Hidden Killers with Tony Bruski on YouTube, that's where you will find us. Then that's where you can comment and join in the the conversation. This for me, I've been researching, I've been watching. This is probably like the original true crime case that I have followed since 1996, when I was 1996 would have been about 15, 16 right around there. 14, 15 right around there. I'm not good with math, but in that general area.
And maybe it's been a case for you too, that you've been following and watching, there are mountains in certain cases where the evidence doesn't hit you like a headline. It hits you like a slow, steady pulse.
A thump under the floorboards that's been there the whole time. Ignored, dismissed, forgotten. Until someone finally digs deep enough to rip the boards up and show everyone what's been living underneath. And in the new documentary about, Sean Diddy combs this sprawling, ugly excavation. Violence, intimidation, power. In the shadows of hip hop history. That pulse is a stack of journals.
Literal, like journals, 30 boxes of them, handwritten by a man most people forgot. Kirk Burroughs is his name. Not a rival, not a disgruntled hanger on a co founder of Bad Boy Entertainment. A man who ran Diddy's budgets, approved his expenses, managed his money, and witnessed the movement of people, cars, weapons and influence at the precise time when Tupac Shakur and the Notorious B.I.G were murdered. You don't get a paper trail from the underbelly of hip hop. You don't get ledgers from the streets. You don't get logs from gang meetings or receipts for million dollar bounties. That world operates in shadows, whispers, fear, and sudden violence. But you do get journals like this from a man like Kirk Burroughs. A man whose entire job was to keep track of every dollar and every movement. Not because he thought he'd one day be a witness, because he was the only person in the room who wasn't allowed to forget anything. And those journals, for the first time, are out in the open. They don't give us a smoking gun. They give us a map. A map of jealousy, a map of fear, a map of sudden money movements that make no logistical sense. A map of gang proximity, relation, logic, and a pattern of violence that somehow kept circling the same man while his rivals ended up death dead, his friends ended up silenced, and his critics ended up erased. This isn't about proving murder. This is about a pattern. A pattern that stretches from the East coast, west coast feud straight through the federal investigations. Diddy had been facing a pattern that starts with two of the biggest murders in music history and winds through decades of allegations about abuse, intimidation, retaliation, and the use of violence, not as chaos, but as currency. So let's start where the documentary picks this up with the journals. Imagine boxes stacked to the ceiling, Mead notebooks, scribbled margins, dates pinned like coordinates. Not dramatic notes about conspiracies or confessions. No, these are the mundane mechanics of a man who handled the money. Rental cars, budgets, travel plans, hotel blocks, flight changes, personal expenses, and the kind of daily logistics you only notice because they're not supposed to stand out. And then you see him. The entry's tied to August And September of 1996, the weeks leading into Tupac Shakur's murder. Car rentals, multiple rentals, long distance travel expenses for a trip Diddy did not need to take by road. Movements that put key players in the exact corridor that police and gang witnesses have talked about for years. Movements that align with allegations, not prove them, but align eerily close. In those weeks, Dwayne Keefe D. Davis, a prominent Southside Crip and longtime figure in the Tupac murder investigation, claims Diddy made a broad public statement in a room full of Crips that he'd give anything to see Tupac and Suge Knight gone. Keefe D. Claims there was talk of a million dollar bounty. Whether we take his word is another conversation. His credibility has been attacked and defended by investigators for decades. But.
What you cannot dispute is that his timeline is now backed unintentionally by the journals of the man who controlled Diddy's finances at the time. Burroughs notes don't say this is for the hit. Of course they don't. That's not how this world works. Nor does Burroughs claim to have any knowledge of this is what was the plan. But they do show this. Diddy suddenly wanted to drive to Las Vegas from New York weeks before the Tyson fight. Drive something totally out of character for a man who flew everywhere. That ain't a quick drive for those of you playing along with the world of geography and the man allegedly carrying the murder weapon, Eric Von Zip Martin, a Harlem drug lord with deep ties to Diddy and a man Burrows was told was Diddy's uncle, suddenly had a concealed compartment in his vehicle that Keefe D. Says held the gun used to kill Tupac. When law enforcement, gang witnesses and financial logs all line up in the same 72 hour window, you don't get proof. You get a pattern. Pattern. A pattern powerful enough to reopen investigations, change public perception, and expose what insiders have whispered for nearly 30 years. Here's what else journals reveal, or more accurately, what they confirm. Diddy was jealous, deeply jealous of Tupac and Biggie's friendship. That's the allegation most people remember the public beef, the theatrics, the diss tracks. But inside Bad Boy, according to Burroughs and multiple others, the problem was simpler and darker. Diddy hated that Biggie had a friend he didn't control. He hated that Pac. And Biggie's bond wasn't built on branding or manipulation or image. It was built on actual respect. It was organic. It was theirs. And if you're going, wait a second. They weren't friends. Oh, but they were.
Oh, but they were. The minutia, the information, the. The rivalry, the anger, the distracts, all of that happened at the very tail end of each of their lives. Prior to that, they were friends.
They were.
They'd hang out. There was times where Biggie opened for Tupac. I know it sounds crazy, because when you look back at history, you get stuck into compartmentalized zones of this is what the truth is. This is what life was like at the end. Yes, cuz that's where everyone focuses. But for the majority, the actual life being lived.
For nearly a decade.
That wasn't the case.
They respected each other, they supported each other, they showed up to each other's promotions, parties.
They promoted each other, they respected each other. What changed? What made all of that different?
Well, enter Sean Puffy. Combs.
And allegations, assumptions, rumors and actions. Not the actions that I would say necessarily put a gun in Puffy's hand.
But certainly a jealousy of a relationship that he was not part of between two very talented men that he was not one of.
And what do people with, say, narcissistic tendencies tend to do.
When their ego is so fragile.
And others are outshining them? Well.
They destroy. They destroy anything in the way that is hurting that ego. And if what's being hurt is a relationship between.
Who he wants to be viewed as being best friends with, because that was, of course, the story after death.
They were tight. They were just the best of friends. They were best buddies. History tells us something very different about the relationship with Biggie. And two with a Biggie and Diddy.
It was all a dream.
The man obsessed with image perception and power. This relationship with Tupac and Biggie was unforgivable. Allegedly. Burrows describes a version of Diddy that has since been echoed by ex bodyguards, former artists, and even industry executives. A man who needed to be the center of every room, whose fear of losing control often mutated into rage, paranoia, and dangerous decisions made in the heat of ego. He says, for Sean, being a marketer, you're a manipulator. Not metaphorically, literally. Manipulation wasn't a Tactic. It was the whole operating system. And if you apply that lens to the timeline surrounding Pac and Biggie's death, the whole thing starts to look less like random tragedy and more like the aftermath of a man whose fear, jealousy and ego kept pouring, putting powerful, violent people into close proximity with each other. Which brings us to the murder of Biggie Smalls six months after Tupac. Another drive by, another retaliation. Another case with no arrest, no closure, and no accountability. Former LAPD detective Greg Kading, who investigated both murders, including under the federal task force, has long maintained that Biggie's death looks like retaliation for Tupac, a counter strike, but not necessarily ordered by Suge Knight. In fact, Kading says something that hits like a brick. Towards the end of the documentary.
It'S really Keefe D and Puffy Combs who are the last men standing. Think about that. Of all the gang figures, producers, executives and affiliates who lived through that era, the only two men still alive who sat at the center of the violence are a South side Crip and Sean Diddy Combs. And Diddy has denied every allegation outright, aggressively, repeatedly and consistently.
But denial doesn't erase pattern. Denial doesn't erase proximity, and denial does not erase journals. Keefe D's proffer session played in the documentary adds another layer. It's not a confession in the legal sense. It's a proffer, meaning what he said can't be used against him, but it can be used to build out context, timelines, investigative lead sheets and supporting evidence. In that session, he describes Diddy making a public statement about wanting Suge and Tupac dead. He describes Zip transporting the weapon. He describes the Crips preparing for the night of the Tyson fight. And when you look at Burroughs journals again, the strange car rentals, the quick turn travel plans, the confusing instructions that made no sense to him at the time. What Burrow saw as odd in 1996 suddenly makes sense in 2025. When you have gang witnesses, law enforcement investigators, and DEC insider accounts telling you that powerful men move differently when they're afraid or when they want something to happen without leaving fingerprints. But the journals don't just illuminate the murders. They illuminate the culture around Diddy, a culture that looks unsettlingly similar to the allegations we're hearing today. Burroughs says Sometimes you're humiliated. Sometimes you're made an example of. Sometimes violent things happen to you.
Understand that. Let that settle. This is a man who worked inside Diddy's life, not just his company. A man who controlled the budget, saw the movements watch the power dynamics unfold in real time. And he's telling you calmly, directly, with decades of hindsight, that violence was a management style. Intimidation wasn't the exception. It was an everyday language. And why? The current allegations, the raids, the civil suits, the trafficking claims, the whispers about federal charges don't feel like a shocking new chapter. They feel like the same book. The murders of Tupac and Biggie may not have been orchestrated by Diddy, and the documentary doesn't accuse him of that directly. It can't. There's no conclusive evidence, but it does show through the journals, the proffer tapes, the testimonies, and the unraveling of the east coast, west coast timeline is that Diddy was not a passive bystander. He was not an innocent spectator caught in the crossfire of something bigger than him. He was sitting in the center of the storm with the money, with the fear, with the ego, with the connections, and with the kind of psychological volatility that can make a feud turn fatal even if you never pull the trigger. People forget this, but in the months before Biggie's death, Bad Boy was renegotiating his contract. Burrow says Diddy wanted to swap pages, a quiet internal rewrite that would have benefited the company.
Yeah, he wanted to do this.
After Biggie died. BIG had already signed the contract, and in the contract there are terms. There's multiple pages. This page, that page, this page. Sign here at the very end.
Typically today, a lot of the standards initial each page to prevent something like this from happening. The allegation is that after Biggie died, the.
Agreement that he had with Bad Boy Records.
He wanted to adjust, amend, make it something that Biggie did not sign. So Bad Boy would basically be more.
Financially benefited by the.
Agreement, the financial gains of the music of the now deceased Biggie Smalls.
So that Les would basically go to his estate to whoever would be collecting on the behalf of Biggie.
Change that up, he's dead. You know, like you do when your friends die. Let's find a way to go back in time, and I think I can make more money off of him when he's dead. He. He won't need this. Let's change the. The terms up here.
That's the allegation, what Burroughs says Sean Diddy Combs wanted to do to the music agreement, to the profit agreement with Biggie and his estate. Burroughs refused to change the papers up. He refused to put the new edited copies inside the folder with the N signed page by Christopher Wallace. Biggie Smalls with The new.
More generous pages designed to benefit Bad Boy and diddy. Burroughs refused. 90 days later, fired.
Biggie was dead. And suddenly the contract Diddy wanted is no longer up for debate. Coincidence? Maybe. Or maybe it's another example of a man who understood the power of timing and the power of silence. Because what happens to people who cross Diddy in Burrows? Case blacklisted for 25 years, shelters, homelessness, gone. You don't achieve that level of erasure by accident. You achieve it with influence, intimidation, and a network of people who know the consequences of speaking publicly. The documentary doesn't prove Diddy killed Tupac. It doesn't prove he had Biggie murdered. It doesn't claim that. What it does show you is a pattern. A decades long pattern of fear, control, violence, proximity to gang warfare, egomaniacal decision making, secretive money movements, and a chilling ability to walk away from disasters that destroyed everyone around him. Tupac died, Biggie died. Zip disappeared. And most of the gang leaders are gone. Investigators have retired, witnesses have been killed, silenced or discredited. And the only two men who remain in the frame, the only two still standing, Keefe D. And Diddy. And right now, one of them has already started talking. And the other one, he's watching decades of silence collapse under the weight of 30 boxes of journals that were never supposed to see the light of day. This isn't a murder accusation. This is a pattern recognition. A recognition that every time violence erupted, every time power shifted, every time rivals fell, every time lives were destroy, destroyed, did, he'd walk away larger, richer, and more feared and more untouchable. Patterns aren't proof. But when the pattern is big enough, long enough, and dark enough, people stop asking did he?
And start asking, how could he have not known? The documentary doesn't tell you what to think. It just finally puts the map on the table. And once you look at it, all the lines start pointing.
In the same place.
Again. Give me your thoughts in the comments section on YouTube if you're not already there, search Hitting Killers with Tony Bruski. Be sure to hit subscribe while you are there as well. We're trying to get up to 100,000 subscribers by the end of the year. We'll see if we make it. We're getting close. We're getting up there, but with your help. If you enjoy our commentaries and our coverage of the many cases we follow for you, please do do us a favor and hit subscribe. You're doing yourself a favor too, because then you're going to get UPD on all these cases as we put them out for you every single day right here at the Hidden Killers Podcast and True Crime Today. My name is Tony Bruski. We will talk again Real Want more on this case and others, Then press Subscribe now and don't miss a moment of true crime coverage from Tony Brewski and the Hidden Killers Podcast.
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Episode: New Info Ties Diddy To The Death of 2Pac & Biggie Like NEVER BEFORE!
Host: Tony Brueski
Release Date: December 4, 2025
In this gripping episode, host Tony Brueski investigates the latest revelations connecting Sean “Puffy/P Diddy” Combs to the infamous unsolved murders of Tupac Shakur and The Notorious B.I.G. Drawing primarily from Curtis “50 Cent” Jackson’s new Netflix documentary, Brueski delves deep into explosive allegations, including never-before-seen financial journals from Diddy’s former right-hand man Kirk Burroughs, and how these tie into existing testimonies—particularly from Dwayne "Keefe D" Davis. The episode frames Diddy’s history of manipulation, violence, and control, scrutinizing how patterns—not direct evidence—may speak volumes about his proximity to, if not culpability in, two of music’s most tragic deaths.
[06:05] Central to the new allegations are the handwritten journals of Kirk Burroughs, co-founder of Bad Boy, who managed Diddy's money and logistics.
[09:30] The journals corroborate, intentionally or not, certain claims:
On pattern versus evidence:
"This isn't about proving murder. This is about a pattern... a pattern that stretches from the East coast, west coast feud straight through the federal investigations." (Tony Brueski, 05:52)
On Diddy's management style:
"For Sean, being a marketer, you're a manipulator. Not metaphorically, literally. Manipulation wasn't a tactic. It was the whole operating system." (Tony Brueski, 14:09)
On Diddy’s attempts to rewrite Biggie’s contract:
"After Biggie died... He wanted to adjust, amend, make it something that Biggie did not sign. So Bad Boy would basically be more financially benefited." (Tony Brueski, 19:36)
On violence as currency:
"Violence, intimidation, power. In the shadows of hip hop history." (Tony Brueski, 06:05)
On shifting attention:
"Patterns aren't proof. But when the pattern is big enough, long enough, and dark enough, people stop asking did he? And start asking, how could he have not known?" (Tony Brueski, 22:46)
Tony Brueski maintains a tone that is both investigative and intensely personal—acknowledging the weight of nearly thirty years of speculation while steadfastly focusing on the facts, patterns, and lived realities unearthed by new testimony and documentation. He’s careful to reiterate that these are not charges, but serious questions that demand reflection by fans, investigators, and the public.
While no direct evidence connects Diddy to the murders of Tupac or Biggie, the convergence of credible timelines, insider journals, and decades of whispered allegations make the case for examining the toxic patterns of manipulation and violence in his orbit impossible to dismiss. The episode challenges listeners to see beyond headlines and consider what decades of matching stories truly reveal—even when the ultimate answer may never come in a courtroom.
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