For those opting not to hear Sean “Diddy” Combs’ music after his recent arrest and federal charges of sex crimes, silencing his tracks is quite straightforward.

As a main artist, his notable songs – including “Can’t Nobody Hold Me Down,” “Been Around the World,” and the heartfelt tribute to Notorious B.I.G., “I’ll Be Missing You” – achieved success during the late ’90s.

In the 2000s, he collaborated heavily with artists like Ginuwine, Nelly, and Keyshia Cole, shifting the spotlight from his own work. Last year, he made a comeback with “The Love Album: Off the Grid,” focusing on R&B and featuring artists like Swae Lee, Summer Walker, and Justin Bieber, who has been connected to Combs since his early years.

However, Combs’ contributions as a solo artist pale in comparison to the vast empire he established as the head of Bad Boy Records and a producer. His influence as a behind-the-scenes architect of music extends far and wide, making it challenging to avoid his influences in the industry.

Now at age 54, with Combs currently in Brooklyn’s Metropolitan Detention Center facing charges of racketeering, sex trafficking, and engaging in prostitution, fans find themselves wrestling with a decision reminiscent of those made during scandals involving other major figures such as Michael Jackson, Chris Brown, and R. Kelly: Should they continue to support him or turn away?

Diddy’s impact on artists like Mary J. Blige, Mariah Carey, and JLo

One significant aspect distinguishing Combs’ situation from others is the publicized footage of him attacking his former girlfriend, singer Cassie Ventura, in a hotel corridor back in 2016.

“The video makes a substantial impact,” states Anthony DeCurtis, a contributing editor at Rolling Stone. “It moves the conversation beyond the typical questions like, ‘What did she do?’ when discussing domestic incidents. The visual evidence is simply shocking.”

This disturbing evidence may sway Diddy’s fans to avoid his music, yet trying to distance oneself from all the songs he influenced is like trying to avoid getting wet in the rain.

Upon founding Bad Boy Records in 1993, Combs introduced a promising talent: rapper Christopher “Notorious B.I.G.” Wallace. The label’s inaugural major album, Wallace’s “Ready to Die,” immediately established both the label’s and Combs’ prestige in the competitive music landscape.

Following this, the roster expanded to include Craig Mack, Faith Evans, 112, and Mase, elevating Bad Boy’s status.

After Wallace’s tragic death in 1997, his second album, “Life After Death,” produced by Combs, was released just 16 days later. Including Combs on the massive hit “Mo Money Mo Problems,” this album is now a staple in hip-hop history.

Before launching Bad Boy, Combs played a pivotal role at Uptown Records, where he executive produced Mary J. Blige’s debut, “What’s the 411?,” also co-writing tracks like “Leave a Message” and “Changes I’ve Been Going Through.” He later produced Blige’s influential “My Life,” contributing to the hit “I’m Goin’ Down.” This partnership fostered a lifelong friendship between them, and Blige, along with some of Combs’ children, honored him with the MTV Global Icon Award at the 2023 VMAs.

The breadth of artists influenced by Combs’ work is vast, spanning acts from TLC (including songs on 1994’s “CrazySexyCool”) to Mariah Carey (“Honey” from 1997’s “Butterfly”) and LL Cool J (the title track from 1997’s “Phenomenon”), even extending to Burna Boy (with contributions from 2020’s “Twice as Tall” album).

Several artists who have joined forces with or have a professional connection to Combs.

Close associates of Combs, including Usher, may now feel uncomfortable with their connection to him. The R&B superstar first formed a bond with Combs in his teenage years when L.A. Reid, head of LaFace Records, sent Usher to stay with the rapper to grasp the music industry better.

During Combs’ relationship with Jennifer Lopez in the late ’90s, he collaborated with her on the track “Feelin’ So Good” from her album “On the 6,” which has sold over 10 million copies globally. Combs also produced Lopez’s follow-up album “J. Lo,” which hit No. 1 on the Billboard 200 chart upon its release in 2001.

However, DeCurtis believes that the repercussions of Combs’ controversies won’t necessarily affect the artists who have worked with him.

“I think his music will suffer. But I’m not sure if many people are aware of the full extent of his history regarding the artists he’s signed or produced,” DeCurtis commented. “The severity of what we’ve seen has put him in serious trouble, but it’s difficult to say how that will impact people’s comfort listening to his music.”

Listeners Wonder ‘Is it Time to Move On from Diddy?’

Online fans are expressing their thoughts and seeking the opinions of others regarding not just Combs’ music, but the numerous artists affiliated with him.

“Should we really be boycotting Diddy’s music? If I decide to stop playing songs he created or produced, it will take away about 80% of my favorite music from that era. I’m stressed!” one user on X wrote.

Responses varied from, “What he did to succeed is as terrible as it gets,” to “I’m still listening to No Way Out, one of the best albums of the 90s, along with Life After Death, which is the greatest rap album of all time.”

Simultaneously, discussions on Reddit are analyzing Diddy’s skills as both an artist and a producer, with some praising his knack for integrating samples seamlessly into tracks and others criticizing his “childish rhymes” and “awkward” dance moves.

While Combs May Not Matter on Dance Floors, Kesha Certainly Does

The question of whether to support certain artists due to their personal controversies stretches beyond mere fan sentiment and into the professional music scene. Radio hosts, who often gauge public reception based on listener feedback, and various types of DJs are compelled to reevaluate their choices when scandals arise.

Nick Spinelli, a DJ for clubs and weddings in southern New Jersey for two decades, mentions that some DJs choose to consult their moral compass when deciding if it’s suitable to feature an artist’s music at events.

“On the flip side, you also have to deliver what the audience enjoys and only ‘cancel’ an artist’s music if it’s no longer working for the crowd,” Spinelli shared.

He notes that he hasn’t received any requests for Combs’ tracks and wasn’t playing them previously since they weren’t requested.

However, Spinelli points out that since Combs’ recent legal issues, when he plays Kesha’s 2009 hit “TiK ToK,” the song’s opening line – “Wake up in the mornin’, feelin’ like P. Diddy” – always gets a reaction from the audience.

“There’s always a response, whether it’s laughter or groans,” he mentioned. “It energizes the crowd. I’ve been intentionally playing it because any reaction like that is something you want to capitalize on.”

(Kesha announced in August her plans to re-record the song, changing the lyric to ‘(expletive) P. Diddy’).

While Spinelli has excluded R. Kelly from his sets, recalling a couple’s wedding request for “Ignition (Remix) Pt. 2” that completely deflated the atmosphere, he intends to continue letting his audience influence his music choices.

“I don’t think Diddy’s past collaborations are on the minds of my audiences,” Spinelli said. “Most people aren’t aware of Usher, Mary J. Blige, or similar artists. It’s a slippery situation. It’s wiser to let the crowd dictate. If they stop responding, I’ll stop playing it.”