Entertainment
Prosecutors want Sean “Diddy” Combs to get more than 11 years in prison
New York — Prosecutors urged a New York federal judge Tuesday to send Sean “Diddy” Combs to prison for over 11 years following his conviction on prostitution-related charges, citing one of his accusers who said she lives in fear of the music mogul’s release from detention.
“His crimes of conviction are serious and have warranted sentences over ten years in multiple cases for defendants who, like Sean Combs, engaged in violence and put others in fear,” they wrote in a presentence submission requesting at least 11 years and three months in prison.
They filed their sentencing recommendation shortly after midnight, including letters from some of his accusers describing how his violence and demands had impacted their lives.
Prosecutors called Combs “unrepentant” and said Combs had conceded his acts of violence and abuse throughout his trial but “incredibly … he now argues that his victims should shoulder the blame.”
Combs, 55, has remained jailed since his July conviction on charges related to arranging male sex workers to travel to hotels or residences where he directed them to have sex with his girlfriends.
The elaborate dayslong, drug-fueled sexual events were often filmed by Combs. Defense attorneys have asked that he be sentenced to no more than 14 months in prison. Sentencing is set for Friday. The music mogul had pleaded not guilty to all of the charges brought against him.
In July, Combs was convicted of two charges for violating the Mann Act, which outlaws interstate commerce related to prostitution, for arranging the paid sexual encounters between his girlfriends and male sex workers. Each count carries a maximum penalty of 10 years in prison.
The same jury acquitted the Bad Boy Records founder of racketeering conspiracy and sex trafficking charges that could have resulted in a life sentence.
Last week, the defense submitted its presentence arguments, saying Combs has suffered enough during his nearly 13 months behind bars and that he should be freed soon.
Jane Rosenberg / REUTERS
They wrote that he became a changed man in a Brooklyn federal lockup, where he has been under constant suicide watch and learned to react calmly rather than violently to threats, even when a fellow inmate confronted him with a shiv.
They said Combs has realized that his overuse of drugs, including some prescribed by doctors, had contributed to violent acts he participated in.
Prosecutors said Combs was now trying to cast himself as a victim.
“He is not the victim,” they wrote. “The Court should focus on the very real effects that the defendant’s conduct had on the lives of the actual victims, his victims.”
At trial, two of Combs’ former girlfriends testified that they felt forced to participate in the drug-fueled sex marathons with male sex workers as Combs watched and sometimes filmed.
Ex-girlfriends tell court about treatment by Coombs
R&B singer Casandra “Cassie” Ventura described being beaten by Combs when she displeased him during their decadelong relationship. Another ex-girlfriend, testifying under the pseudonym “Jane,” said she felt pressured to perform sexually with male sex workers. She testified that an enraged Combs once put her in a chokehold and punched her in the face.
In a letter accompanying the prosecutors’ submission, Cassie wrote that she testified while nine months pregnant during Combs’ trial “in front of a packed courtroom about the most traumatic and horrifying chapter in my life. I testified that from age nineteen, Sean Combs used violence, threats, substances, and control over my career to trap me in over a decade of abuse.”
Cassie wrote that Combs controlled her like a puppet.
“These events were degrading and disgusting, leaving me with infections, illnesses, and days of physical and emotional exhaustion before he demanded it all again. Sex acts became my full-time job, used as the only way to stay in his good graces,” she said.
Cassie said she still has nightmares and flashbacks on an everyday basis and requires psychological care to cope.
“My worries that Sean Combs or his associates will come after me and my family is my reality. I have in fact moved my family out of the New York area and am keeping as private and quiet as I possibly can because I am so scared that if he walks free, his first actions will be swift retribution towards me and others who spoke up about his abuse at trial,” Cassie said.
The AP does not typically name people who say they have been sexually abused unless they come forward publicly, as Cassie has.
In an indictment, prosecutors asserted that Combs used his fame, wealth and violence to force and manipulate Cassie and Jane, now-ex-girlfriends, into the sexual performances he called “freak-offs” or “hotel nights.”
Judge Arun Subramanian has signaled that he is leaning toward a substantial amount of prison time, twice refusing to grant bail since the jury returned its verdict, citing Combs’ history of violence.
Neil Sedaka was one of America’s most popular singer-songwriters, twice!
As a boy growing up in Brooklyn, his talent was hard to miss. “I was a child prodigy,” he told “Sunday Morning” in 2020. “I started at nine years old. Got a scholarship to the prep school of Julliard.”
When he was 13, he met a kid in his apartment building named Howard Greenfield. He’d found his lyricist, and they quickly hit it big.
When we met six years ago, Sedaka told me about the song that made him a star, “Oh, Carol,” inspired by his relationship with high school classmate Carole King: “I did date Carole King for about two minutes,” he laughed. “Yes. I had a crush on Carole King.”
In the next few years, Sedaka composed-and performed one hit teen anthem after another, including “Calendar Girl” and “Stupid Cupid,”
Asked if there is a throughline as to what makes songs popular, Sedaka replied, “It always goes back to, ‘Oh, that song could be my life. That’s my story.'”
He landed his first #1 single in 1962, “Breaking Up Is Hard to Do.”
Neil Sedaka had become a superstar. Between 1958 and 1963, he sold 40 million records “I pushed three buttons on my car radio, and I heard ‘Oh Carol’ on three stations at the same time,” he said.
And then, suddenly it was over. In 1963, a new group arrived: The Beatles. Sedaka’s brand of bouncy pop quickly fell out of favor. He’d become a has-been at age 24. For 13 years, he was mostly forgotten. “I had 13 years of being off the charts – no plays, nothing,” he said.
And then, one night, at a party in England, he met a fellow musician named Elton John. “He said, ‘You know, I could make you a star again.'”
In 1974, John’s record company released a new album called “Sedaka’s Back.” That record included his first #1 hit in 12 years: “Laughter in the Rain.”
But even that song wasn’t as big a hit as the one recorded by the Captain and Tenille: “Love Will Keep Us Together.”
“I went from making $50,000 a year in 1974, to $6 million a year in 1975, with one record, one LP, and one song,” he said.
The second act of Sedaka’s career had begun. If you had any doubt, you just had to listen closely. In 1976, a new, slower version of “Breaking Up is Hard to Do” hit the charts again. “I think I’m the only person who did the same song twice, in a different tempo, number one both times,” he said.
On Friday, after a 70-year career, Neil Sedaka died at age 86. To him, making a song was a joyful, even mystical act.
“I think you’re chosen spiritually at that particular moment,” he said, “and you’d better sit very quietly, because you can actually feel the song being written by itself. And the song passes through your throat and through your fingers. It’s an extraordinary feeling!”
Story produced by Gabriel Falcon. Editor: Jennifer Falk.
Mumford & Sons served as the musical guest in the latest episode of Saturday Night Live on February 28, and they brought out a surprise guest along.
The folk-rock band based on Marcus Mumford, Ben Lovett, and Ted Dwane, took the stage to perform songs from their latest album, Prizefighter, and sang Rubber Band Man featuring Hozier.
Their performance also featured a cameo from The National’s Aaron Dessner which doubled the excitement for fans.
Videos of the performance taken from Studio 8H went viral all over social media, as fans expressed their delight at Mumford & Sons’ comeback, and the surprise guests.
The song Rubber Band Man is a collaboration between the Someone New hitmaker, and the band.
Prizefighter, which marked the second album since the band’s return after seven years, features many collaborations as the band described their project a collaborative effort between friends.
They co-produced and co-wrote the album with Dessner, and worked with Gracie Abrams and Chris Stapleton on tracks from the project.
The special SNL episode where Mumford & Sons performed, was hosted by Heated Rivalry star Connor Storie.
Kitty Song Covey is entering her senior year – and apparently, she still hasn’t discovered the concept of “chill.”
Anna Cathcart is back as everyone’s favourite chaos queen in season 3 of XO, Kitty, premiering on Netflix this spring. And according to the 22-year-old star, Kitty may want to consider a yoga class. Or three.
“She just needs to calm down a little bit,” Anna told People magazine. “I feel like Kitty has the most chaos [sic] of anyone I know, and that’s what we love about her.”
“But also, girl, you need to sit down sometimes,” she continued. “Take a deep breath, it’s okay. She kind of always has been [that way], but in a controlled way, I guess. She handles it well.”
Season 3 picks up after that cliffhanger (you know the one), and for the first time, fans will see a summer episode – yes, summer at KISS is officially unlocked.
“I’m finally allowed to talk about that because it’s been a secret forever,” Anna shared. “So very excited and I think they’re going to be surprised, but also super happy. So I can’t wait.”
And it’s not just poolside vibes. “[Kitty’s] making some big decisions in her life and it’s senior year, all of that, so I’m very excited for them to see,” she added.
Translation? Expect romance, identity spirals, possibly tears – and definitely Kitty-level impulsive decision-making.
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