Shane Mosley Wants His Money Back, Claims Ex-Wife Was Married To Someone Else The Whole Time


Shane Mosley got divorced from his wife Jin back in 2011 and you would think that’s the end of that. However Mosley claims he has recently found proof Jin was married to someone else when she said “I do” to him which would be a HUGE deal because it would mean his marriage to her was never legal. That means everything she got in the divorce would go back to him!


The ex boxing champ marched into an L.A. courthouse on Wednesday to start taking legal action against Jin Mosley — who he was married to from 2002 to 2011. Shane claims he recently got proof Jin was also married to another guy from 1995 until 2006 … which would make her a bigamist.

It would also mean Shane and Jin were never legally married, and therefore never divorced — which makes a huge financial difference, ’cause according to docs … Jin cleaned up in the break up:

– 3 houses
– several investment and bank accounts
– 2009 Mercedes G Wagon and 2008 Cadillac Escalade
– income from Mosley’s fight library
– $600k lump sum for spousal support

So, clearly there’s a lot on the line. However, Jin tells TMZ Sports … she has no idea what Shane is talking about, and denies being married to anyone else.

It’s unclear what kind of “proof” Shane has, but outside court he told us he plans to sue for bigamy and fraud so he can get back everything he shelled out.

One of hip-hop’s all-time greats sums up his legacy on a brilliant, confounding album

Who in the world has better ears than Andre Young? Throughout his many incarnations, the common thread in Dr. Dre’s career has been his ability to hear things differently from everyone else, and his certitude that millions of paying customers will want to hear those things too. Paradoxically, he’s been both prolific and patient: It doesn’t seem like he’s ever stopped working, and yet somehow 16 years have elapsed since his last solo LP.

For much of that time, he’s said, he was working on a solo record to follow up 1992′s landmark The Chronic and 1999′s lushly raucous 2001. The project — which grew increasingly mythical as time passed — consisted of a title, Detox, and little else. Now, with scant warning, Dre’s solo return is upon us, with the twist that it isn’t Detox at all. Maybe it’s marketing: How could anything meet the wild expectations tied to that name? Or maybe the dream of Detox paralyzed Dre, and the only way to free himself was to set his sights elsewhere.

So he set them on his past. Compton is a companion piece to the new N.W.A biopic, and the album’s backward gaze is evident from the intro, where narration from an old TV documentary describes how Dre’s California hometown went from black-middle-class idyll to a crime-ravaged “extension of the inner city.” Dre reminisces over past indignities (“Face down on the pavement with the billy clubs . . .”) and glories (“. . . Now it’s ‘Fuck Tha Police’ all up in the club”) — but this is no dusty museum tour. Compton contains some of his most ambitious, idea-stuffed production ever, combining the layered bombast and narcotic ooze of his catalog’s peaks with a bunch of bold new tricks. On standouts like “Talk About It” and “Genocide,” Dre and his co-producers manage insane juggling acts between throbbing funk bass, jazz trumpet, extended high-hat solos, acoustic guitars and irresistibly pounding drums. Lyrically, Compton is not only vibrant but full of an indignation that suggests world-beating success has done little to lessen the vitriol that fueled Dre back in N.W.A. On “Issues,” co-starring Ice Cube, Dre declares, “Fuck money, that shit could never change me.” The line seems at once boastful and true, for better and worse: The track ends with a jarring fantasy about a woman’s violent murder.

Throughout, Dre’s rhyming (aided as always by co-writers) is impressive. He trades his familiar stentorian boom for double-time syncopations, hoarse snarls and even bursts of song — Eminem and Kendrick Lamar, both of whom cameo, clearly rubbed off on him. The latter in other ways, perhaps: This is Dre’s most explicitly political album, featuring lines from him and guests that evoke police violence, particularly the killings of Michael Brown (“Blood on the cement, black folks grieving”) and Eric Garner (“I can’t breathe, I can’t breathe”). He’s still full of contradictions — on “Animals,” he calls himself a “product of the system, raised on government aid,” but on “Darkside/Gone,” he raps, with palpable disgust, that “anybody complaining about their circumstances lost me, homey.” It adds up to an album by turns confounding and enthralling. It’s no Detox. It’s something realer, and better.

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Jermaine Dupri: Mariah Carey Knows What She Wants | Larry King Now | Ora.TV

Jermaine Dupri Mixes Beats and Makes Music

The veteran hip-hop producer discusses how tech in the studio and the club have altered the music industry and his career.

When Grammy Award winner Jermaine Dupri built his first studio, he installed a $100,000 48-track mixer that recorded on digital tape. Soon after, his friends advised him to replace the system with one using recording and editing software Pro Tools.

He resisted until fellow hip-hop artist Sean “Diddy” Combs left his studio during a recording session.

“[He] couldn’t wait for the tape to rewind,” Dupri recalled. “It was driving him crazy.”

Dupri, 42, now embraces new technology while keeping some tried-and-true tools alive. As a professional mixer of music, he uses technology to borrow from the past and create something fresh.

His passion for music and playing with sound started when he discovered kid rappers Kris Kross at age 17.

In 1992, he wrote and produced their No. 1 hit, “Jump.” The next year, he co-founded So So Def Recordings, through which he has produced such artists as Jay-Z, Mariah Carey, Ludacris and Usher.

He recently won the Founders Award of the American Society of Composers, Authors, and Publishers, a prestigious honor previously bestowed upon his “biggest influence,” Quincy Jones.



Dupri used the Akai MPC60 to sample beats for Kris Kross’ “Jump” in 1992.
Credit: Wikimedia Commons.



Studio Tech, ‘90s to Now

Shortly before 1 a.m. on a Friday in June, Dupri was riding an IO Hawk transporter and checking calls on his Apple Watch. As he prepared to DJ a late-night set at the Wynn’s Encore Beach Club, he reflected on how technology has helped shape his career.

When Dupri produced “Jump” on a four-track recorder at his mother’s house, mixing “scratches, and samples, and loops, and beats, and 808s…like a big pot of gumbo,” one of his biggest limitations was the amount of memory.

His Akai MPC60 beat-sequencing machine, equipped with a 3.5-inch disk drive with 793KB of capacity and a 10MHz Intel 80186 processor, was not up to the task.

“I was sampling so many different things,” he recalled, “textures that I felt like we had to have in that song.” But Dupri said the MPC60 could handle only samples “like 2.8 seconds of a beat.”

He needed longer samples and to track each clip separately. Dupri wasn’t able to assemble the song until he brought everything to a professional studio.

According to recording expert Gannon Kashiwa, who helped develop Pro Tools and now works for studio hardware maker Universal Audio, most artists use powerful specialized hardware and software to record, mix and edit.


Jermaine Dupri

Dupri runs Serato DJ software on his MacBook.
Credit: @jermainedupri on Instagram.


Pro Tools, which Digidesign (now Avid Technology) launched in 1991, “could run on a NuBus Mac and give you up to 16 channels of [input/output] and waveform-based editing for less than $15,000,” Kashiwa said.

Producers still favor high-end studio consoles first popularized in the 1980s, like those from AMS Neve and Solid State Logic, but today’s versions are complemented by sophisticated software.

Kashiwa said those who create electronic dance music usually choose Apple’s LogicAbleton LiveSteinberg Cubase and other programs that feature great tools for creating loop-based music. “People doing music that is primarily recorded and mixed will tend toward Pro Tools, Steinberg Nuendo, [and] Cockos Reaper.”



Dupri revs up the crowd.



Hashtags and Instant Feedback

Dupri’s latest single, “WYA (Where you At),” recorded with Pro Tools, mixes decades-old sounds with a contemporary style and message.

Durpi said he was “messing with vinyl again,” listening to old rap records with rapper Bow Wow and some other artists, when they established a beat that “sounds like now.” Then they started singing the words behind a popular social media hashtag: “where you at?”

The song “perfectly fits what’s going on — everybody uses #whereyouat,” Dupri said. “It just seemed like it was perfect for us, going into the summer.

“Then I just started working more and more on the track to make sure that it sounded sonically like something that I wanted the world to pay attention to now.”

Dupri says social media “is probably the best thing that’s ever happened to music.”

Record companies used to assemble focus groups to gauge whether consumers would buy an album. Today, with instant feedback from people posting to his Instagram account, YouTube channel and Global 14 blog, “it’s like the focus group is right in front of us,” Dupri said.

“You get to see immediately what the taste is,” Dupri said. “You put a beat up, [and] their reaction is immediate. Some people love it, some people don’t. Some people want more.”



Dupri’s DJ setup includes Technic turntables and a Pioneer mixer.



Getting the Beat Right

In developing “WYA (Where You At),” Dupri borrowed beats from floppy disks he plugged into his tried-and-true MPC60II, a 1991 update to the MPC60 drum machine.

“I still have my beats, my sounds, on my floppies,” said Dupri, aware that using them dates him in the eyes of younger producers.

“They still have them out there,” he joked.

Many producers today like “to put a whole bunch of sounds on a computer, and then just run through sounds,” Dupri said, noting this method is different from his process.

“When I hear the music, I automatically know what sound I want. So I’m going to go sample that kick from this old record, and I’m going to put it in the drum machine.”

As he does in the recording studio, Dupri likes to mix sounds and tech old and new on the DJ stage.

His setup: Technic SL-1200 turntables and a Pioneer mixer — mainstays of old-school rappers for the ways they “let you sync songs and beats and do crazy crossfades and effects,” Kashiwa said — connected to a MacBook running Serato DJ software, which enable Dupri to play gigabytes of music rather than just a heavy crate full of vinyl.

Technology has also made it easier and more cost-effective to be a DJ. One DJ recently demoed a suite of tools made with Intel’s $55 Edison development boards.

Dupri has noticed the evolution. He said he used to think that computers couldn’t create the sounds that he hears in his head.

“As technology moves forward,” he laughed, “I’m starting to hear these machines do things that I usually hear.”

Pioneer DJ DJM-S9 Official Introduction

The First Episode Of Your Shot From 7UP and Tiësto

While U.S. Dance Music Hall of Fame DJ Tiësto doesn’t think Simon Cowell’s DJ show has a chance, he seems to have faith in his. With the backing of 7UP, the new Your Shot show from Tiësto has its first episode for you to watch above.

Your Shot will feature 10 webisodes following 30 DJS looking to win what they believe to be the ultimate prize, having Tiësto as their tutor, their mentor and being part of the Tiësto camp.

Financed by 7UP, there will be 8 weeks of competition. There have been thousands of entries but only 30 will be chosen to train at the Your Shot Academy in Los Angeles. These 30 contestants will undergo training on how to prepare to perform at a showcase to be held in L.A. before a panel of industry professionals and Tiësto himself.

Six contestants will be chosen. Those six contestants will then travel to Las Vegas to be taken under Tiësto’s tutilage. The winner will get an opening slot at Hakkasan in Las Vegas with Tiësto.

[via clubhead]

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