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Yahoo
19 hours ago
- Entertainment
- Yahoo
Takeaways from ‘Diddy' trial: Woman accuses Sean Combs of dangling her over a balcony
A forensic video expert and a woman who said Sean 'Diddy' Combs dangled her over a balcony took the stand Wednesday in the Hip-hop mogul's federal criminal trial. The testimony came as the prosecution has sought to prove Combs and some in his inner circle constituted a criminal enterprise that used threats, violence, kidnapping and other means to coerce women into 'Freak Offs' with male escorts and to protect his image. Combs has pleaded not guilty to charges of racketeering conspiracy, sex trafficking and transportation to engage in prostitution. His defense has acknowledged Combs was violent but has questioned the motives of those testifying and has said the accusations fall short of the charges. Bryana Bongolan is set to return to the stand for more cross-examination on Thursday at 11 a.m. The prosecution has indicated the court will soon hear testimony from a key accuser who has been referred to in court by the pseudonym 'Jane' and in the indictment as 'Victim-2.' Her testimony is expected to last into next week. Here's what we learned in testimony Wednesday. A forensic video expert testified Wednesday that the March 2016 surveillance video showing Combs assaulting his then-girlfriend Cassie Ventura at a hotel in Los Angeles was not manually altered. Frank Piazza, the expert, said he examined the surveillance video from the InterContinental Hotel, cell phone video and 'sex videos' in preparation for his expert testimony but did not have knowledge of the case. At the government's request, Piazza said he created a video compilation of clips from inside the hotel showing the actions of Combs, Ventura and the security officer who responded to the scene, Israel Florez. He testified that he slowed the InterContinental surveillance footage to real-time because a technical file-converting process had inadvertently sped it up. Surveillance footage of the assault has been the central piece of evidence in the trial so far, and the jury has watched the video at least eight times. CNN first published surveillance video of the assault last year. Piazza also testified that he enhanced 10 'sex videos' originally recorded in 2012 and 2014 that were recovered from a laptop Ventura gave the government under the user profile Frank Black, an alias used by Combs. The videos were entered into evidence Wednesday under seal. On cross-examination, when defense attorney Teny Geragos noted the time codes on the hotel surveillance footage jump rather than advance second-by-second, Piazza explained that the hotel camera system is motion activated so motion triggers a time stamp change and that the hotel's cameras were not synchronized to the same internal clock. He testified he was able to sync the footage based on overlapping events. Bryana Bongolan, the second witness of the day, testified Combs held her over a 17-story balcony and threw her onto the balcony furniture in September 2016. The incident was previously mentioned in a civil suit filed by Bongolan against Combs in November 2024. Attorneys for Combs previously denied Bongolan's allegations in a statement to CNN. On Wednesday, Bongolan testified that the incident occurred after Combs began banging on the door of Ventura's apartment in Los Angeles. Bongolan said she hid her now ex-girlfriend, who was with her and Ventura in the apartment, in the bathroom because she 'didn't want to expose her to things that I see.' She then went to the balcony to appear 'casual,' she testified, and was facing away from the door when Combs came up behind her, grabbed her chest and then held her by her armpits over the balcony railing. Combs repeatedly yelled, 'Do you know what the f**k you did?' according to Bongolan. She recalled responding something like 'I don't know what the f**k I did,' and added that she still doesn't know what Combs was angry about. After about 15 seconds, Combs threw her on the balcony furniture, she testified. Bongolan said as she was falling, she heard Ventura ask something similar to 'Did you just hang her over the balcony?' and it sounded like she was in disbelief. Afterward, she had a bruise on her leg and had back and neck pain, she testified. The jury saw photos of the bruise and bandages on her back and neck. 'I have night terrors and paranoia and scream in my sleep at times,' she added. She said she didn't experience those things before the incident. A day or two afterward, Combs or someone on his team FaceTimed her, Bongolan said. 'I remember saying a couple times, 'I don't want any problems with you,'' she testified. She said she didn't report the balcony incident to police because she was scared. Bongolan said she's seeking $10 million in her lawsuit against Combs but said she's not expecting any money to come from her testimony at this trial. Bongolan said she filed the lawsuit against Combs, 'because I wanted to seek justice for what happened to me.' A hearing on her civil case is set to take place in July, according to court records. Bongolan also testified about other threatening incidents involving Combs and about her frequent drug use with Ventura. Bongolan testified under an immunity order after she invoked her Fifth Amendment right against self-incrimination. She is the third witness to testify under immunity. She testified she frequently stayed at Ventura's apartment, and Combs regularly came over in the middle of the night banging on the door. On one occasion, Combs threw a knife in Ventura's direction, and Ventura threw the knife back but didn't hit him, Bongolan said. She said she didn't call the police about the incident. 'I was just scared of Puff,' she said, referring to Combs' nickname. Bongolan testified she saw Ventura with bruises or injuries on some occasions. She said she saw Ventura had a black eye during a FaceTime call with her around the time of Ventura's premiere of the Perfect Match, which was in March 2016. 'I was a little quiet and I remember saying I'm sorry,' Bongolan said. Bongolan also testified about a time Combs threatened her while she and Ventura were doing a photoshoot on the beach in early 2016. 'He came up really close to my face and said something around the lines of 'I'm the devil and I could kill you,'' Bongolan said. She said she was likely using cocaine at the time, which gave her confidence to brush it off. Bongolan said she and Ventura did drugs together and the drug use 'definitely created like a habit.' She sold drugs to Ventura often, including oxycodone pills, cocaine and ketamine, she testified. She said Combs gave her drugs a few times and said she's seen Combs use drugs. On cross-examination, the defense challenged Bongolan's memory of the balcony incident and noted Ventura described it differently in her lawsuit against Combs. Bongolan confirmed she had conversations with Ventura about the balcony incident before and after Ventura filed her lawsuit, including about the location and who was present. She confirmed that Ventura had said it was at a hotel with a different person present. The defense suggested that Bongolan's testimony did not match what she told prosecutors in meetings prior to trial. Bongolan repeatedly said she didn't remember exactly what she told prosecutors or at what meeting. 'Isn't it true that just two days ago you told the prosecution you just don't recall the details of the balcony allegation?' Westmoreland asked. 'I don't remember,' Bongolan said.
Yahoo
16-05-2025
- Politics
- Yahoo
Luzerne County study commission plans more power for election board
May 16—Under a scenario that took shape Thursday, Luzerne County's Government Study Commission would recommend keeping a five-citizen election board but mandating that it has more power, including authority to hire the election director and prepare the annual budget request to county council. Currently, the county manager handles these duties but must consult with the board. The potential change would be similar to the structure of the county controller's or district attorney's offices, with the election board-selected director overseeing staff and reporting to the board instead of to the county manager or council. The commission is drafting a revised charter that will come before voters for possible adoption in November. Commission members will not formally vote on the election board recommendations until proposed wording is presented at an upcoming meeting. The movement to mandate more board power was largely in response to a legal overview Thursday from commission solicitor Joseph J. Khan, of Curtin & Heefner LLP. Khan said home rule counties have discretion over how election boards are structured but must comply with the Pennsylvania Election Code, or Title 25, in setting forth the duties of the board. The county's current charter was clear about the selection of election board members but did not spell out the board's duties, creating the potential for conflicting interpretations and future legal challenges, Khan told the commission. Khan said Title 25 is clear that election boards have employee appointment authority and other responsibilities. This very issue arose soon after the charter's January 2012 implementation when the county's election director was terminated by the manager, Khan said. He was referring to Leonard Piazza, who oversaw the election bureau from April 2004 until his termination in April 2012. Among other issues, Piazza's litigation argued then-county Manager Robert Lawton did not have authority to terminate him because that power is held by the election board. There was no final court decision because a council majority approved a $56,000 settlement in March 2018 to end Piazza's litigation. Under the current charter, county council appoints four of the five citizens — two Democrats and two Republicans. Those four council-appointed members then select someone of any affiliation, or no affiliation, to fill the fifth seat and also serve as chair. Prior to home rule, the county's three elected commissioners served as the election board, with the court appointing substitutes during periods when sitting commissioners appeared on the ballot. During Thursday's two-hour discussion on the matter, commission member Stephen J. Urban said he has long argued that the election board was not exercising its lawful powers, which he said include the authority to select the county's voting system. Commission members discussed different scenarios of adding council members and/or the county manager to the board as voting or non-voting members, but the majority consensus appeared to be for keeping five citizens. Regarding the fifth election board seat filled by election board members, commission Chairman Ted Ritsick said he does not believe that person should be required to fill the chairmanship seat. Ritsick said he believes more citizens would apply for the fifth seat if they did not have to serve in the leadership post. He advocated for allowing board members to select anyone to serve as chair during annual reorganization meetings. Several others voiced support for Ritsick's suggested change. Commission members Mark Shaffer, Vice Chairman Vito Malacari and Treasurer Cindy Malkemes strongly opposed the addition of council members or the county manager to the election board as voting or non-voting members. Reach Jennifer Learn-Andes at 570-991-6388 or on Twitter @TLJenLearnAndes.
Boston Globe
15-05-2025
- Entertainment
- Boston Globe
Singers soar above the flaws of ‘The Light in the Piazza'
If you can accept those tradeoffs, you'll be in a position to savor In particular, you'll have a chance to experience the stunning vocal power of Sarah-Anne Martinez as Clara, a 26-year-old woman on vacation in Florence with her mother, Margaret (Emily Skinner), in the summer of 1953. The way Martinez deploys her crystalline soprano in the title song, just to choose one highlight of her performance, is shiver-inducing. Advertisement For a reason we later learn — she suffered a brain injury in childhood that has affected her development in hard to predict ways — Clara tends to act on impulse. And when she falls in love with a 20-year-old Florentine named Fabrizio (Joshua Grosso), and he with her, Margaret faces a dilemma: Should she tell Fabrizio and his parents (William Michals and Rebecca Pitcher) the truth about Clara's condition? That, in Margaret's words, 'She is not quite what she seems'? Music director Andrea Grody and her orchestra bring out the lushness of Guettel's score, which is often lovely and always heartfelt, but could do with more tonal variety. As a matter of storytelling, 'The Light in the Piazza' takes a few short cuts, introducing what seem to be major conflicts, only to resolve them too tidily, with a song or a bit of dialogue, reflecting an impatience to get on to the next scene — and the next song. The result is a lack of necessary tension. Advertisement The cast of "The Light in the Piazza." Julieta Cervantes/Photo: �Julieta Cervantes That's when the quality of the cast's singing proves vital. While Martinez is on a plane of virtuosity all her own, Skinner and Grosso also sing beautifully. In dialogue and in song, Skinner lets us feel the anguish of a mother caught in a bind between the possibility of happiness for her child and the possibility of emotional devastation for that child. Grosso, who was in the cast of last year's ' The courtship between Clara and Fabrizio gets a bit too cutesy, but there is a genuine chemistry between Martinez and Grosso. It's vital that we believe the ardor of their love, even though they scarcely know each other, and we do. Martinez delivers a wonderfully subtle performance, equally convincing in communicating Clara's condition and general innocence via bright, birdlike movements and expressions —Clara is somewhat reminiscent of Laura Wingfield in 'The Glass Menagerie' — then transitioning to an explosive key for a riveting meltdown scene. To this observer, 'Piazza' leans in the direction of Italian stereotype in its depiction of Fabrizio's brother (Alexander Ross), and sister-in-law (Rebekah Rae Robles). Advertisement Greco, The Huntington's artistic director, shows an adroit touch in handling 'Piazza''s shifts in mood and atmosphere. From the mist-shrouded opening scene, there's a gauzily cinematic quality to the production, suffused with a swoony romanticism. A film version of 'The Light in the Piazza," starring Olivia de Havilland, Yvette Mimieux, and George Hamilton (!) was released in 1962, shorn of the 'The.' Scenic designer Andrew Boyce has created a movable set that is both visually arresting and versatile, swiftly establishing a sense of place as the musical moves from one locale to another. We all have our own definitions of true love. The implicit argument of 'The Light in the Piazza' is that the most important quality is unstoppability. THE LIGHT IN THE PIAZZA Book by Craig Lucas. Music and lyrics by Adam Guettel. Based on the novella by Elizabeth Spencer. Directed by Loretta Greco. Presented by The Huntington. At the Huntington Theatre, Boston. Through June 15. Tickets start at $29. 617-266-0800, Don Aucoin can be reached at
Boston Globe
07-05-2025
- Entertainment
- Boston Globe
A Florence setting helps a mother and daughter be their truest selves in ‘The Light in the Piazza'
On a lunch break from rehearsals, 'It's an internal tug of war between her own knowledge, practicality, and reason, and wanting to ferociously protect Clara from any potential hurt. But then her heart is saying, 'Look at her. She's a completely different human and blossoming into her truest self.' And so how can Margaret deny that?,' Greco explains. 'So it's a heart versus reason struggle, and [Margaret] is caught trying to navigate that. And this is where she realizes that suddenly Fabrizio has replaced her as Clara's lifeline.' Advertisement This rare revival of the musical was on the top of Greco's wish list when she took over as artistic director at the Huntington in 2022. She first saw 'The Light in the Piazza,' featuring music and lyrics by Adam Guettel and a book by Boston University alum '[The show] is trying to get at some of the most complicated, deep pings and pangs going on inside of each of us.' 'Piazza' is the first musical Greco has ever directed, having focused on new play development for much of her career. When she arrived at the Huntington, she thought, 'What are the things I haven't done that scare the [expletive] out of me? I wanted to do a big ass musical, and this one spoke to me as a great piece of drama. And I am shaking in my boots every day. I've been directing for a long time, but this is a whole other beast.' From left, director Loretta Greco and assistant director Alexandra Dietrich during rehearsal for "The Light in the Piazza" at the Huntington Theatre. Josh Reynolds for The Boston Globe The scene when Margaret senses Clara's growing feelings for Fabrizio unfolds, over tea, inside the home of Fabrizio's elegant Italian parents, Signor (William Michals) and Signora Naccarelli (Rebecca Pitcher), who are joined by their eldest son, the wayward Giuseppe (Alexander Ross), and his stylish, hot-blooded wife, Franca (Rebekah Rae Robles). The family, who own a clothing shop, are charmed by Clara and enthusiastic about the match, but unaware of Clara's disability. Advertisement 'It's like meet-the-parents night. Margaret wants to share enough of the secret about Clara so that she can end this charade,' Greco says. 'But she sees how happy and natural Clara and Fabrizio are together. So she doesn't quite know how to do that.' When Clara and Fabrizio first get stars in their eyes, a skeptical Margaret discourages the romance. She's always agreed with her husband, Roy, back home in North Carolina, to shield their daughter from pain and heartache, because her cognitive abilities and emotional regulation were hampered by a brain injury she suffered when she was 12. But she's privately yearned for Clara to have an independent and full life. As Clara and Margaret get swept up in Florence's intoxicating swirl of art, history, and romance, Clara begins to discover herself and find independence, while Margaret's perspective shifts. 'There's a toggling that Margaret does. She's watching her deepest, most passionate hopes for Clara come to fruition. But her sole identity has been tied to being Clara's caretaker, mother, helpmate, best friend, and companion.' Indeed, the mother-daughter story resonates for Greco in particular, as the parent of a now young-adult daughter. 'It is the plight of every mother — when your daughter starts to step into their womanhood and find their autonomy — to suddenly see your role and purpose and impact be replaced with friends, lovers, and others.' Skinner, who has starred in musicals like 'Side Show' and 'Suffs' on Broadway, has forged a deeply personal connection with Margaret. 'I think of my grandmother constantly. I really know this person and what she's grown up with, the sort of protocol of decorum that she's learned how to go through life with.' Advertisement Margaret begins to grapple with the state of her own withered marriage while watching young love flourish. 'I think there's something about seeing them together that I'm sure makes her reflect on her own life,' Skinner says. Greco says they've been looking at Clara's different way of looking at the world as a 'superpower.' 'What's refreshing is that Clara says exactly what she's feeling and thinking in real time. She has no cynicism, is full of questions, and has an appetite that is voracious.' When she meets Fabrizio for the first time, he's drawn to 'her wonder, her curiosity, her appetite for life, and that's part of what excites and inspires him.' The setting in Florence, considered the birthplace of the Renaissance, is key to Clara's sexual and emotional awakening. 'She's feeling for the first time that she belongs somewhere,' Martinez says. 'All the puzzle pieces are coming together and the gears are shifting. She's blossoming into the woman that neither she nor her mother nor the doctors ever knew she could be.' For inspiration, Greco and scenic designer Andrew Boyce looked at Florentine architecture and Renaissance artwork and sculpture, but it's not a literal interpretation. 'It goes for those big, evocative feelings and big strokes of visceral impact,' Greco says. At the center of the stage is a revolving turntable, which Greco says 'seeds' the theme of 'life's fluidity … of Florence swirling around [the characters] … and the passeggiata, the ritual of Italians to walk in a circle at sunset in the parks and the piazzas.' Advertisement Ultimately, Greco hopes the musical reminds audiences to embrace risk-taking and not fear uncertainty. 'We can't grow if we aren't taking risks in life,' she says. 'Reason has to flow through the heart for us to be our most balanced, truest selves, and I think that the world could use a lot more recalibration in terms of our hearts.' 'We really see Margaret grow and change,' she concludes. 'She's a woman of a certain age who has to figure out a way to let her heart win and set her most prized possession free. It's a killer!' THE LIGHT IN THE PIAZZA Presented by the Huntington. At Huntington Theatre, May 8-June 15. Tickets from $29. 617-266-0800,
Yahoo
05-05-2025
- Entertainment
- Yahoo
Baseball Legend Mike Piazza Finally Reacts to Song That Immortalized 2002 Rumors He Was Gay
Mike Piazza, then a catcher for the New York Mets, was the subject of 2002 rumors he was gay, which he denied A year later, the indie band Belle and Sebastian released the song 'Piazza, New York Catcher,' which immortalized the rumors in its lyrics In a new interview, Piazza reacted to the song for the first time Back in 2002, Mike Piazza was the All-Star catcher for the New York Mets. He was also the subject of tabloid rumors about his sexuality, which claimed he was gay and in the closet. In May of that year, Piazza, now 56, ended up giving a press conference, telling reporters, 'I'm not gay. I'm heterosexual. I can't control what people think. I can say I'm heterosexual. I date women. That's pretty much it,' per SB Nation. But those gay rumors live on in one odd way: through the 2003 song 'Piazza, New York Catcher' by the Scottish band Belle and Sebastian. In the second verse, singer and songwriter Stuart Murdoch (a Mets fan) sings, 'Piazza, New York catcher, are you straight or are you gay?' Now, Piazza is finally addressing the classic indie love song (which also appeared on the soundtrack for the 2007 movie Juno) for the first time. Piazza told New York Magazine in an interview published April 28 that the song makes him feel, 'flattered, obviously.' He explained, 'I don't know, man, as you get older, you just don't get as wrapped up in those things, or you just don't have the energy, really.' Piazza married Alicia Rickter in 2005, and they share two children. Piazza also noted that he was named-dropped in the 2004 Beastie Boys song '3 the Hard Way,' which features the line, 'I said, oops, gotcha, clutch like Piazza.' (One of the group's co-founders, Adam "MCA" Yauch, was a Mets fan.) Piazza said of the Beastie Boys, 'My son likes them, even though it's dirty. I like the clean version. But any time you're remembered in pop culture like that, it's nice.' Piazza — who was elected to the Baseball Hall of Fame in 2016 and is also known for his time as a Los Angeles Dodger — said that today, a lot of younger people know him because he's included as a 'legend' in the video game MLB: The Show. Never miss a story — sign up for to stay up-to-date on the best of what PEOPLE has to offer, from celebrity news to compelling human interest stories. 'One time, I was giving a clinic and a kid goes, 'Are you Mike Piazza?' ... He goes, 'Man, you got a lot of power.' I said, 'Oh, thanks, dude,' ' he remembered. 'He's like, 'Yeah. Are you surprised?' It was really funny having an 11-year-old kid who was born after I retired talk about me in that way. Hey, I'll take it. Believe me — it's nice to be remembered.' As for Murdoch, 56, he told Rolling Stone in 2016 about including Piazza and his infamous rumors in the song that he became a fan of the player the first time he went to a Mets game in the late '90s. 'I was almost instantly drawn to Piazza. That's the thing about him; he was a talisman wherever he went. He was the kind of player people tended to follow, and we thought he was a good guy,' he said. Related: Songwriter Reveals One of Rihanna's No. 1 Hits Features Many '80s Song Titles Hidden in Its Lyrics The song 'Piazza, New York Catcher' was about Murdoch's long-distance relationship with his now-wife. As for including the rumor in the song, he said, 'It almost kind of went into the song as a way of holding a mirror up to gossipy society. The way people talked about that stuff, I didn't give a s--- ... It never occurred to me that I might become part of the problem.' Read the original article on People
