After nearly two years, Sean "Diddy" Combs completed his deposition last week in the $130 million civil lawsuit stemming from the 1999 Club New York shooting that sent the Bad Boy CEO's former protégé, Shyne, to prison, MTV News has learned.

Natania Reuben, who filed the suit, claims the Bad Boy CEO and Shyne (Jamal Barrow, who changed his name in 2006 to Moses Michael Leviy in honor of his Jewish heritage), among others, are responsible for the injuries she suffered that night as a result of the gunfire. Reuben was shot in the face during the melee.

It's been nearly 15 years since Tupac Shakur was shot for the first time in what appeared to be robbery attempt inside the lobby of New York's Quad Recording Studios in 1994. Although the shooting has remained unsolved, much like his murder in Las Vegas in 1996, new evidence has surfaced that links Diddy to the shooters.

Via a web-only presentation that will appear on LATimes.com on Monday (March 17), staff writer Chuck Philips -- who has been covering the murders of Tupac and the Notorious B.I.G. for the paper for years -- deconstructs the 1994 ambush of the superstar rapper, which he calls the first shot of a lethal, bi-coastal feud that culminated in the killings of both rappers.

"One of the people involved in what happened to Tupac has family associated with the mob. It wasn’t by them; it didn’t have anything to do with the mob," Phillips continued. "This person was at Quad studios that night, and this person knew Puffy and Biggie and Jimmy Henchmen and Haitian Jack. A white Italian guy; he’s now in jail. He’s involved in this and frankly I never knew anything about this situation." ...

"I don’t believe that Biggie and Puffy set Tupac up [to be shot]," Phillips said. "According to these people I have interviewed and according to these documents, they knew about it," he said. "But they didn’t know they were going to get shot. They knew he was going to get beat up. Then it kind of went haywire when it all happened."

"The revelation of Biggie was shocking to me," Philips told MTV News on Thursday. "When this came up, I was just, ... 'I don't believe it.' So I went about trying to disprove it in various ways with various sources and that's not what happened. What I ended up writing is what happened."

You grew up with your grandmother. How did that shape you?

My life has more in common with this role than people realize. My father was killed when I was 3 years old. I grew up in a family with three women—my mother, grandmother and sister. It’s a very unique dynamic to grow up with three women. It shapes and moulds you. It slows down your transition into being a man because they take care and baby you. But they taught me morals, work ethic and the importance of taking care of one’s family. I was brought up to believe I could do anything.

... Simmons "dropped some knowledge," the hip-hop term for divulging previously unknown nuggets of information. "I did hear that the Obama camp got a call from Sean Combs," Simmons said. "I did hear from 50 Cent's camp that he didn't know about Hillary anymore."

AllHipHop.com: So let's start with this "Get Buck." You have a lot of different artist looks on that song. What was your thought pattern in putting that together?

DJ Felli Fel: I did the record and I was with Akon in Vegas at the studio. We were both out there for All-Star weekend. Basically, he wanted to get into the studio and I was working on some stuff, and he heard that track. He loved that record, and he wanted to jump on it. It just came together from there. Once that hook was done, I could get a good gage of who [I wanted] on the record. I picked Diddy because the record was kind of like a club kind of record and Diddy can do that. The first thing I had to do was pick artist that didn't have projects that were currently out. Just from the beat and Akon's hook, I knew this record had the potential to be a big record, on the radio and in the club, but not if there were artists on it that could prevent it from getting played. Diddy's project was over, I knew he would sound good on the record, and it was just a matter of him liking it. "Diddy loved it, he jumped on it. The next person I thought of was Ludacris, because I felt the record needed some depth and Luda's got such a strong presence and not just from a lyrical standpoint, but he's a character. I thought he would do that track justice, which he did. The record was pretty much done, but it wasn't slowed down at the end. I didn't do that to the record until the very end when Akon, Diddy and Luda were already on the song. I wanted to do something different. I felt the record was cool but, it needs something else. I got that idea from being a DJ. It was a house record in the late 80s that slowed down from like 125 beats per minute to maybe 60 beats per minute. I always wanted to do that to a record. It had never been done to a Hip-Hop record and the first person I thought of was Lil Jon. It kind of gave you that feel that it was time to get Crunk. I was actually recording around the corner at a studio in Hollywood that's like five minutes from where Jon stays at. He was like "Come over man." I did and we partied for a minute and he knocked his part out, and it was a wrap. I go with Vibe and feel, and all those people felt right.

If you want a piece of Diddy's bling, you're gonna have to win—and big.

That's the message a Los Angeles judge is sending to a man who's suing Sean Combs, after temporarily rejecting a request to have the rap mogul fork over highly detailed financial statements that could reveal his net worth. ...

According to local wires, Superior Court Judge Robert Hess stated that the only way the California man could gain access to such information about Combs' sources of income is if he's able to persuade a jury of his peers to buy his side of the story when the case goes to trial May 27.