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Hurdles in ‘Suge’ Knight Case: Hesitant Witness, Fuzzy Video

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In this March 9, 2015 file photo, Marion "Suge" Knight, center, arrives in court for a hearing about evidence in his murder case, in Los Angeles. Knight will stand trial on murder and attempted-murder charges after the former rap music mogul struck two men with his pickup truck in January, killing one and seriously injuring the other. Superior Court Judge Ronald Coen made the ruling Thursday after concluding a hearing that focused heavily on testimony from Cle "Bone" Sloan, who was hit outside a Compton burger stand. The judge also reduced bail from $25 million to $10 million. (Kevork Djansezian/Pool Photo via AP, File)

In this March 9, 2015 file photo, Marion “Suge” Knight, center, arrives in court for a hearing about evidence in his murder case, in Los Angeles. Knight will stand trial on murder and attempted-murder charges after the former rap music mogul struck two men with his pickup truck in January, killing one and seriously injuring the other. Superior Court Judge Ronald Coen made the ruling Thursday after concluding a hearing that focused heavily on testimony from Cle “Bone” Sloan, who was hit outside a Compton burger stand. The judge also reduced bail from $25 million to $10 million. (Kevork Djansezian/Pool Photo via AP, File)

ANTHONY McCARTNEY, AP Entertainment Writer

LOS ANGELES (AP) — On paper, the evidence in the murder case against Marion “Suge” Knight looks strong: Prosecutors have a surviving witness, video of the former rap music mogul running over two men and Knight’s history of violence and intimidation.

But a hearing this week that ended with a judge ordering Knight to stand trial showed the difficulty prosecutors will face if they hope to convict the Death Row Records co-founder. The witness says he doesn’t want to testify and be labeled a “snitch” and won’t even identify Knight as the one who ran over him. The video is fuzzy and has elements that could help either side.

And Knight is not the only one involved with a shady past.

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THE WITNESSES

Cle “Bone” Sloan, the man who survived the crash, is a former gang member, and Knight has ties to the Mob Piru Bloods, a gang that helped him maintain a fearsome image during the heyday of Death Row Records. Experts say witness issues are common in prosecutions involving gang members.

Meanwhile, Knight’s defense attorney used the video to show that several men with gang affiliations hired by Sloan for work on the film “Straight Outta Compton” were at the scene, when they should have been several blocks away preparing to shoot a promo video.

Sloan made clear that he is a reluctant witness. Such behavior is common in cases involving gang members, in large part because testimony can mean physical harm or death for someone seen as a snitch.

“That is the hallmark of a gang case,” said Alan Jackson, a former Los Angeles prosecutor who has written guidelines used nationwide in gang prosecutions.

“Although it’s a very daunting situation to be confronted with, it’s one that can be overcome,” Jackson said. “It’s usually overcome by the prosecutor explaining to the jury through a gang expert what these rules of the street are.”

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THE VIDEO

Footage of Knight running over Sloan and Terry Carter, who died, could be used by both sides.

While the video shows Knight’s truck barreling over Carter, it offers a limited view of the scene. Knight’s attorney, Matt Fletcher, has contended that Sloan was carrying a gun — the video shows one of Sloan’s associates taking something off him after he was hit.

A prosecutor implied at this week’s hearing that it could have been a radio used by Sloan during the film shoot. Fletcher said Thursday that testimony ruled out that it was a radio, cellphone or wallet.

“We eliminated all the possibilities but the last remaining possibility, which is the gun,” Fletcher said.

Stan Goldman, a criminal law professor at Loyola Law School in Los Angeles, said, “You never quite know what’s going to happen with a video.”

He noted that defense lawyers slowed down and painstakingly analyzed footage of Los Angeles police beating motorist Rodney King, successfully winning acquittal of the officers in a state criminal trial. Convictions against two of the officers were later obtained through a separate federal case.

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A SHADY PAST

Knight, 49, was a key player in the gangster rap scene that flourished in the 1990s, and his label once listed Dr. Dre, Tupac Shakur and Snoop Dogg among its artists. Knight lost control of the company after it was forced into bankruptcy.

He has prior felony convictions for armed robbery and assault with a gun. He pleaded no contest in 1995 and was sentenced to five years’ probation for assaulting two rap entertainers at a Hollywood recording studio in 1992.

For his part in perhaps the most infamous violence associated with rap music in the 1990s, Knight was sentenced to prison in February 1997 for violating terms of that probation by taking part in a fight at a Las Vegas hotel hours before Shakur was fatally wounded in a drive-by attack as he rode in Knight’s near the Strip. Shakur’s slaying remains unsolved.

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KNIGHT’S DEFENSE

Fletcher has repeatedly said that his client’s life was in danger when he was attacked by Sloan.

“There’s no intent to kill,” Fletcher said, arguing to dismiss the case. “There’s an intent to survive.”

Knight’s fiancee also provided a preview of a self-defense claim that may be raised.

“He heard them verbally saying that they were going to shoot him,” Toi Kelly said of Knight. “And not to shoot him in the truck, to pull him out of the vehicle and shoot him.”

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Associated Press writers Brian Melley and Raquel Maria Dillon contributed to this report.

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Anthony McCartney can be reached at http://twitter.com/mccartneyAP

Copyright 2015 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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OP-ED: AB 1349 Puts Corporate Power Over Community

Since Ticketmaster and Live Nation merged in 2010, ticket prices have jumped more than 150 percent. Activities that once fit a family’s budget now take significant disposable income that most working families simply don’t have. The problem is compounded by a system that has tilted access toward the wealthy and white-collar workers. If you have a fancy credit card, you get “presale access,” and if you work in an office instead of a warehouse, you might be able to wait in an online queue to buy a ticket. Access now means privilege.

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Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland
Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland

By Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland

As a pastor, I believe in the power that a sense of community can have on improving people’s lives. Live events are one of the few places where people from different backgrounds and ages can share the same space and experience – where construction workers sit next to lawyers at a concert, and teenagers enjoy a basketball game with their grandparents. Yet, over the past decade, I’ve witnessed these experiences – the concerts, games, and cultural events where we gather – become increasingly unaffordable, and it is a shame.

These moments of connection matter as they form part of the fabric that holds communities together. But that fabric is fraying because of Ticketmaster/Live Nation’s unchecked control over access to live events. Unfortunately, AB 1349 would only further entrench their corporate power over our spaces.

Since Ticketmaster and Live Nation merged in 2010, ticket prices have jumped more than 150 percent. Activities that once fit a family’s budget now take significant disposable income that most working families simply don’t have. The problem is compounded by a system that has tilted access toward the wealthy and white-collar workers. If you have a fancy credit card, you get “presale access,” and if you work in an office instead of a warehouse, you might be able to wait in an online queue to buy a ticket. Access now means privilege.

Power over live events is concentrated in a single corporate entity, and this regime operates without transparency or accountability – much like a dictator. Ticketmaster controls 80 percent of first-sale tickets and nearly a third of resale tickets, but they still want more. More power, more control for Ticketmaster means higher prices and less access for consumers. It’s the agenda they are pushing nationally, with the help of former Trump political operatives, who are quietly trying to undo the antitrust lawsuit launched against Ticketmaster/Live Nation under President Biden’s DOJ.

That’s why I’m deeply concerned about AB 1349 in its current form. Rather than reining in Ticketmaster’s power, the bill risks strengthening it, aligning with Trump. AB 1349 gives Ticketmaster the ability to control a consumer’s ticket forever by granting Ticketmaster’s regime new powers in state law to prevent consumers from reselling or giving away their tickets. It also creates new pathways for Ticketmaster to discriminate and retaliate against consumers who choose to shop around for the best service and fees on resale platforms that aren’t yet controlled by Ticketmaster. These provisions are anti-consumer and anti-democratic.

California has an opportunity to stand with consumers, to demand transparency, and to restore genuine competition in this industry. But that requires legislation developed with input from the community and faith leaders, not proposals backed by the very company causing the harm.

Will our laws reflect fairness, inclusion, and accountability? Or will we let corporate interests tighten their grip on spaces that should belong to everyone? I, for one, support the former and encourage the California Legislature to reject AB 1349 outright or amend it to remove any provisions that expand Ticketmaster’s control. I also urge community members to contact their representatives and advocate for accessible, inclusive live events for all Californians. Let’s work together to ensure these gathering spaces remain open and welcoming to everyone, regardless of income or background.

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Oakland Post: Week of December 31, 2025 – January 6, 2026

The printed Weekly Edition of the Oakland Post: Week of – December 31, 2025 – January 6, 2026

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Oakland Post: Week of December 24 – 30, 2025

The printed Weekly Edition of the Oakland Post: Week of – December 24 – 30, 2025

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