Chatting with friends at Bounce 99.9
Beau from Bounce 99.9 chats with Rachel about Mom-isms! Those funny phrases all moms say and maybe now you use some of them.
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CTV News
39 minutes ago
- CTV News
Kanye West wants to attend the Sean ‘Diddy' Combs trial to support Combs in court: CNN source
Kanye West, seen here on February 2, has been in touch with Sean 'Diddy' Combs' family about possibly attending Combs' ongoing criminal trial to show his support. (Daniel Cole/Reuters via CNN Newsource) Kanye West has been in touch with Sean 'Diddy' Combs' family about possibly attending Combs' ongoing criminal trial to show his support. A source close to Combs told CNN that West, who goes by Ye, is currently in New York City. He did not attend Thursday's court proceedings but would like to attend to show support for Combs, the source said, adding that West has been in touch with Combs' son, Christian 'King' Combs, about attending trial with the Combs family. Combs' sons have been in court for much of the trial. Christian Combs and West are currently working on music together, the source added. The individual close to Combs noted West may attend when the defense begins their presentation. Prosecutors in the case have said that their presentation is expected to wrap up next week, indicating that the defense could begin calling their own witnesses soon. West, who has been widely condemned and dropped by most of his representatives and business partners for repeated antisemitic hate speech and other controversies in recent years, has offered public support for Combs since he's been incarcerated in the lead-up to his trial. West is one of few public figures to show support for the embattled music mogul, who has been accused of sexual assault or other misconduct in more than 60 civil cases and is on trial in federal court for criminal charges that include sex trafficking, racketeering conspiracy and transportation to engage in prostitution. Combs has denied all wrongdoing and has pleaded not guilty to the charges. West posted messages on social media to call for Combs' freedom ahead of his trial. In March, West released a song that featured a phone call recorded from jail between him and Combs. That song also features Christian Combs and West's daughter with Kim Kardashian. In February, West sparked outrage for selling t-shirts emblazoned with swastikas, which he promoted in a Super Bowl ad. His support for Combs on social media coincided with the firestorm that ensued over his antisemitic posts around the same time. A representative for Combs and his son, Christian, declined to comment. West is not known to be working with a public relations representative at this time and CNN was not able to contact him.
CTV News
3 hours ago
- CTV News
Sean ‘Diddy' Combs' lawyer complains about trial secrecy as a famous rapper's name goes unmentioned
Sean Combs arrives at the Pre-Grammy Gala And Salute To Industry Icons at the Beverly Hilton Hotel on Jan. 25, 2020, in Beverly Hills, Calif. (Photo by Mark Von Holden/Invision/AP, File) NEW YORK — A lawyer for Sean 'Diddy' Combs protested the rising tide of secrecy at the hip-hop icon's federal sex trafficking and racketeering trial on Thursday after Combs and the public were excluded from lengthy arguments over whether another famous rapper's name could be disclosed. Defence attorney Marc Agnifilo complained to Judge Arun Subramanian after Combs was left out of an hour-long meeting in a private room outside the courtroom where lawyers and the judge discussed a hotel room 'event' in January 2024. That meeting added a two-hour delay to the start of the sixth and final day of testimony from a woman identified in court only by the pseudonym 'Jane,' who dated Combs from 2001 until his arrest last September. Combs, 55, has pleaded not guilty to charges that carry a potential prison sentence of 15 years to life in prison if he is convicted. Prosecutors say he used his fame, fortune, violence and threats to manipulate girlfriends into sex with paid sex workers in multi-day events that they later said they regretted. Defence attorneys say the government is trying to prosecute consensual sex between adults. Under cross-examination, Jane testified Thursday that she flew to Las Vegas in January 2023 with a famous rapper and his girlfriend. Defence attorney Teny Geragos did not identify the rapper but asked Jane if he was someone who had recorded with Combs, 'an individual at the top of the music industry as well ... an icon in the music industry.' She also asked if Combs and the rapper were 'really close to one another.' 'Yes,' Jane replied to each question. Once in Las Vegas, Jane testified, she went with a group including the rapper to dinner, a strip club and then a hotel room party, where a sex worker had sex with a woman while a half-dozen others in the room watched. She said there was dancing in the room and the rapper said, 'hey beautiful,' and told her that he'd always wanted to have sex with her. Jane said she didn't recall exactly when she did it, but said she flashed her breasts in the room as she danced. The testimony came soon after the closed-door session Thursday, when lawyers discussed what facts could be disclosed about the hotel room encounter. Agnifilo said the need for a public trial was 'an important issue, a constitutional issue' and objected to so much happening out of the earshot of his client. In response, the judge offered more secrecy, saying 'If your client wishes to be heard ... we can clear this courtroom if need be to address it.' Agnifilo turned down the offer. 'Part of the reason trials are fully public is so if other people realize they know something about an event discussed in a public courtroom, they can come forward and share their recollection of it,' the lawyer said, adding: 'That is kind of the practical side of the constitutional right to a public trial.' A monitor that is used to show exhibits to spectators has been shut off throughout Jane's testimony, although lawyers, the judge, Combs and jurors can view them. Some sidebar conversations between lawyers and the judge during the testimony have been sealed. The judge also has banned the public from viewing any exhibits containing sexual content, even though the defence has said images from the group sex episodes proves they were consensual acts between adults, and not proof of crimes. And many of the letters to the judge from lawyers each day are filed under seal, preventing the public from quickly knowing, for instance, the grounds under which prosecutors are trying to get a Black juror ejected from the jury in mid-trial. The judge has said he'll rule on the request on Friday. Defence attorney Alexandra Shapiro has called the prosecution's effort a 'thinly veiled effort to dismiss a Black juror.' Jane and Casandra 'Cassie' Ventura, who testified for four days in the trial's first week about her relationship with Combs from 2007 through 2018, both said they participated in the sex marathons for years, with Cassie calling them 'freak-off' nights and Jane referring to them as 'hotel nights.' Agnifilo said the defece consented to Jane testifying with a pseudonym but did not consent to other events related to her testimony and the testimony of other witnesses not being public. Assistant U.S. Attorney Maureen Comey attacked Agnifilo's rationale for disclosing more information publicly with the risk that it would be easier for someone to guess Jane's identity, saying it was an 'attempt to harass and intimidate this witness.' Michael R. Sisak And Larry Neumeister, The Associated Press
CBC
3 hours ago
- CBC
How the colour blue tells the story of Black history, from racism to joy
"Blackness, no matter how specific the experience, organically reaches across borders. And I followed it," writes Imani Perry in her latest book, Black in Blues: How a Color Tells the Story of My People. "I have heard and seen blue ringing through Black life at every corner of the world, from Malian music and Yoruba cosmology to the testimonies of rural Colombians. In my blue notebooks, I steadily collected blue blues." To Perry, the colour blue is more than a colour, a mood, or genre of music. She sees a metaphor, a sound, a birthright, a sensibility, a respite and a mode of living with the cruelty of the world. The Harvard professor argues that Black people's love of the colour blue and pursuit of beauty were an assertion of their humanity in a world that dehumanized and objectified them. From birth, Perry became enveloped by the colour blue. She spent much of her childhood in a blue room in her grandmother's home. "The walls were blue, the drapes were blue, the bedding was blue. She had prayer cards with blue writing in the corners of her vanity," Perry said. That room became a portal for her, "the safest space in the world." Imani Perry continued to talk about her book, Black in Blues with IDEAS host Nahlah Ayed. Here is an excerpt from their conversation. You chose the colour blue and as you say, it's not accidental, but it also is a colour that becomes important to Black people. And I know there are a hundred answers to this because that's why you wrote a book about it. But how did that happen? Certainly, the indigo trade is a piece of it. Indigo is this colour that captivates the whole world. There's this talk, and this is why I use the phrase, 'my people gave sound to the world's favourite colour.' There is something about blue that captivates the imagination. And so you have this history of indigo cultivation. For me, there's an inception point to be found when people, West Africans, who have been creating blue items, have been cultivating indigo and using blue dye, experience what had to have been a sort of profound horror and disorientation by finding themselves no longer just cultivators of indigo, but traded for indigo — to imagine what it meant to be someone who crafted and then seeing oneself literally traded for a block of dye. There's something at the heart of that relationship to be found in that encounter. Then, of course, there's indigo plantations, and it's a very difficult crop to cultivate during enslavement. And yet, the people still love the colour blue and still want to wear blue. Even in these devastating circumstances, there's still this appeal and a sense of beauty and delight. And that, to me, is the fundamentally human part that was not destroyed, no matter the brutality. So there's some historical elements to why blue matters. In the book you refer to the writer Amiri Baraka — [and his] term for Black Americans, blues people. What does it mean to be a blues people? Baraka's description of blues people is, he pays particular attention to the way that black Americans stood apart from the American project, sort of sitting on the underside and therefore witnessing its limitations in reaching for a deeper kind of humanity, and expressing that musically, being a part of a world that was much bigger than the particulars of that nation state. I'm so interested in Baraka's conception of blues people on the one hand, and then Albert Murray's on the other, who is another one of my favourite writers who talked a great deal about how Black Americans were so fundamentally American. And so the blue note is actually a variation on this fundamentally American thing that actually is part of what creates Americana itself. Here are two brilliant thinkers who have, in some sense, opposing conceptions of what it means to be a blues people, that there is a spectrum of relationships, a vexed relation to the nation. The American project is also directly connected, for me, to why it was so important to have a sense of the international landscape of Blackness and blueness in the book because there are all these arteries of connection across the globe. Echoes, repetitions, and even intimacies, and mutual inspiration, so it's a sort of both-and. There's a particular relationship of blueness in connection with the American project, but then there's also this global sense of a blues people in the context of modernity, generally speaking. You point out more than once, very articulately that, "race is a messy and exacting business. It pretends to be precise, but it never has been and can't be." You argue, in fact, that, Black people — you point out the obvious, which is they span a huge range of colour from a creamy colour to all shades of brown to blue-black. So they're really not one colour at all. But the colour that connects them all and speaks to their sensibility and experience and way in the world is blue? It's beauty and the blues. The way I often think of it is a blues sensibility is one where people are creating beauty at the very site of wounding. And so it's not an evasion of the wounding, it's not an avoidance, but it is actually sitting in that and building a life. I think about this in particular with the history of slavery in the Americas. People were born, lived, and died enslaved over multiple generations, which means that they also loved and they also created art and they also laughed. And we have this history in intellectual work in my field in Black studies. We want to focus on the struggles for liberation, which we should, but that can lead us to forget how much people's self-creation took place in this position of deep constraint. And that actually is part of the story of who they were and how we became. So that blues, bluesiness, that blue note in the musical scale, the blues, blues people, blues sensibility, is a way to tell that story. For me, it's essential. Black Americans looked to nature for another blue to remember their dead — planting periwinkles on graves. Yeah, it's one of those pieces of history that makes me emotional every time I think about it. So for enslaved people, there were no headstones. And traditional West and Central African burial rituals were not available, although people found ways of creating new rituals, but often that was even under the cover of night. One of the ways that gravesites were marked in the Upper South, in particular, was through the planting of periwinkle because it is a hardy flower — it'll come up every year. And it's a wonderful combination of the ways history and science and documents all work together because archeological work is actually part of how we know this to be true, that so often under these beds of periwinkle flower, there are graves, there are bodies of enslaved Africans. I go places and I see it, and it creates its own sense of solemnity, but also power. I went to visit with a group of women on a trip that was called a sojourn for Harriet Jacobs, the site of the woman who wrote the first major slave narrative, Harriet Jacobs, where she was born in Edenton, North Carolina. We went to the graveyard of her grandmother. She was buried in Massachusetts because she escaped slavery. Close to the graveyard, there are patches of periwinkle. So at a certain point, this became a graveyard for Black people. I have different definitions of home that I'm working with in the book, but one of them is: a home is where you're dead or buried. It's a way of claiming a home there by marking the site.
