Shocking photos show Sean ‘Diddy' Combs' NYC hotel room stocked with baby oil, pink ketamine and $9K in cash on day of arrest
According to photos taken at the Park Hyatt Hotel by Homeland Security Agent Yasin Binda, authorities found big and mini sized bottles of Johnson & Johnson baby oil, bottles of Astroglide lubricant, a black fanny pack with thousands of dollars in cash and two clear plastic Ziploc bags with a pink powdery material inside in the 'Act Bad' rapper's room.
One of the baggies tested positive for ketamine while the other contained MDMA and ketamine.
Authorities also recovered a prescription bottle of clonazepam that was made out to Frank Black — an alias that he used, according to Combs' ex Casanda 'Cassie' Ventura's testimony.
Another prescription bottle that was photographed in Combs' hotel room had the name of the recipient scratched off.
Homeland Security also took photos of the hotel room lamp, which Binda told jurors last week that a 'lighting device' was used to create 'mood lighting' in the living room.
Combs, 55, was arrested on Sept. 16, 2024, after he was indicted by a grand jury.
The dad of seven was then hit with three charges: racketeering conspiracy; sex trafficking by force, fraud or coercion; and transportation to engage in prostitution.
Combs has pleaded not guilty and denied all culpability.
The 'I'll Be Missing You' emcee's sex trafficking trial kicked off earlier this month with several people testifying about his sex- and drug-filled 'Freak-Off' parties and the physical abuse his ex Ventura, 38, endured.
The 'Me & U' singer, who dated Combs on and off from 2008 to 2018, testified last week that one 'Freak-Off' lasted as long as four days and that she would suffer painful UTIs and sores in her mouth due to the back-to-back sex sessions.
Ventura's former BFF Kerry Morgan and singer Dawn Richard testified Monday that they witnessed Combs physically attack the model on several occasions.
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Atlantic
a day ago
- Atlantic
A Requiem for Puff Daddy
Black cool is one of America's great innovations, right up there with basketball, blue jeans, and the internet. It blends several forms—music, sports, fashion, speech, ways of cutting through space—into a wholly distinctive, globally influential aesthetic. There are French fashion houses in thrall to silhouettes first spotted in Harlem, Japanese men who have devoted their lives to spinning jazz records in Shibuya, and lavish murals of Tupac Shakur as far apart as Sydney and Sierra Leone. Sean Combs, the disgraced record mogul, certainly did not invent Black cool. But like Miles Davis, Muhammad Ali, and Michael Jordan before him—and like Jay-Z, Kanye West, and many others who followed—for a flicker of time he was its most formidable ambassador. That moment coincided with my adolescence, which is why the revelation of Combs's extravagant cruelties —the depravity with which he used all that he'd gained—has left my childhood friends and me feeling so betrayed. We had looked up to Diddy, whom I will always think of as Puff Daddy or Puffy. When we were at our most impressionable, he taught us what to want and gave us a model for how to behave and succeed. Seeing him fall apart in our middle age feels like a kind of heartbreak. The verve and swagger he injected into our childhood dreams have curdled into something rancid. Certain photographs of Puffy are permanently etched into my memory. In 1995, dipped in a flowing black-and-gold Versace Barocco silk chemise, liberally unbuttoned to flex a thick Cuban link anchored by a diamond-encrusted Jesus piece—the definitive signifier of inner-city affluence. September '96, on the cover of Vibe magazine: head peering from behind his greatest protégé, the Notorious B.I.G.; signature blackout shades; a perfect S-curl relaxing the weft of his fade. The cool he exuded in these moments was inspirational, even masterful. My friends and I had never seen anything like it so fully pervade the culture, certainly not from someone we felt we could relate to. I have not admired Combs for decades now, since well before his trial this year. But I will always be partial to the Puff Daddy of the '90s: from 1993, when he founded his record label, Bad Boy Entertainment, through the spectacular rise and death of the Notorious B.I.G., and peaking around 1998 during hip-hop's 'shiny-suit era,' which he pioneered with Ma$e and the Lox. By the time I got to college, Puffy was even wealthier, and my cultural references had begun to change. I vaguely remember the preposterous images of him strolling beneath a blazing Mediterranean sun while his valet spread a parasol over his head. He was mainly in the news because of a shooting at Club New York, which resulted in bribery and gun-possession charges against him and a highly publicized trial (he was acquitted). For my friends and me, his shocking newness had begun to fade. Back in his prime, though, Puffy conveyed a sense of youthful ambition that we revered. He was able to transition from sidekick and hype man to dealmaker and multiplatinum performer. Before turning 25, he had founded his own culture-defining business—soon-to-be empire—and knew precisely how to leverage his growing fortune into social capital. More than his success, we were struck by two qualities that seemed novel to us. The first was the amount of effort he openly displayed, which counterintuitively amplified his cool. Puffy made no pretense of obscuring the maniacal work required to achieve his goals. When he closed a million-dollar deal, he slammed the phone down and screamed. (Years later, he would become one of the original hustle-culture influencers on Twitter.) He showed us that flourishing was not a condition one had to be born into—that luxury and labor were connected. The second quality was his ability to make Black people and Black culture—even its less compromising, more street-inflected iteration—feel at home in places, such as the Hamptons, that had not previously welcomed them. Puffy's motto 'I'ma make you love me' felt innocent and aspirational to us, not least because he actually achieved it. We were still many years away from realizing just what he would do with all the love he was given. Helen Lewis: The non-exoneration of Diddy Puff Daddy seemed to us then like a Black man utterly free in a moment of expanding opportunity. Before the age of social media, before we'd ever stepped on a plane, Puffy represented our first intimation of an unrestricted way of being-for-self in the world. On the one hand, he was the antidote to the soul-crushing squareness of upwardly mobile middle-class life that we so feared—degrees, office jobs, bills. On the other hand, he was perfectly assimilated into the good life of the American mainstream, to which we desperately craved access. This made him dramatically unlike his peers. Tupac and Biggie were confrontational, and look where it got them. Rap entrepreneurs such as Master P and Brian 'Baby' Williams were rich but ghettoized; any number of establishments wouldn't seat them. Puffy, by contrast, looked like a marvelous solution to the problem of success and authenticity that my friends and I had been struggling to solve. Yet we were suffering from a kind of myopia. And it wasn't unique to us. The generation after us put their faith in Kanye West, whose most recent contribution to the culture is a single titled 'Heil Hitler.' Role models are like seasons. One passes irretrievably into the next, but for a moment they might reveal possibilities that outlast and surpass them.
Yahoo
2 days ago
- Yahoo
Country Superstar Is ‘Back in the Saddle' With NASCAR Legends on New Project
Country Superstar Is 'Back in the Saddle' With NASCAR Legends on New Project originally appeared on Parade. is back with a new single and music video with a little help from some friends. The video for 'Back in the Saddle,' which debuted on Friday, July 25, features NASCAR legends and Richard Petty. 🎬 SIGN UP for Parade's Daily newsletter to get the latest pop culture news & celebrity interviews delivered right to your inbox 🎬 'So much work goes into making these songs—so much time we spend making them, from the studio writing them to the videos. I got to make the video with Dale Jr. and Richard Petty, which is a total dream come true. My grandpa would be rolling over in his grave in a good way if he knew that I got to hang out with Richard Petty and Dale Jr,' Combs said in the statement about the song, which is not a cover of the Aerosmith hard rock classic, but a new tune he wrote with Dan Isbell and Jonathan Singleton. The release of the new song and video comes as Combs is having a banner year. He recently performed at Bonnaroo and the New Orleans JazzFest, has dates at the Newport Folk Festival (July 26), Lollapalooza (July 31) and Austin City Limits (Oct. 3) coming up, and is making some history along the way. He's the first country artist ever to top the bill at Bonnaroo and the video for 'Back in the Saddle,' the two retired NASCAR legends return to the track at Daytona as Combs belts out his new song. After racing around the track in his iconic number 8 car, Earnhardt Jr. offers Combs the opportunity to take his vehicle for a spin, until Petty makes a surprise appearance, saying, 'Hey guys, let me show you how it's done.' Fans are already reacting favorably to the video in the comments on YouTube. 'this song is so Lightning McQueen coded, I swear 😮💨🤘🏻🔥⚡️Ka-Chow!!!!' wrote one. 'This track is 🔥,' added another. 'I think Luke is one of the best country musicians in my time😊❤,' added another. Country Superstar Is 'Back in the Saddle' With NASCAR Legends on New Project first appeared on Parade on Jul 25, 2025 This story was originally reported by Parade on Jul 25, 2025, where it first appeared. Solve the daily Crossword


USA Today
2 days ago
- USA Today
Surgery center workers who scuffled with ICE agents facing federal charges
ICE agents are facing increasing pushback from community members as they ramp up deportation efforts. This time, the resisters were arrested. Two California surgery center workers are facing federal charges after being accused of scuffling with ICE agents. The July 9 incident captured on video shows the two workers standing in the way of agents, as they tried to detain a man who ran into the surgical building. To identify the workers, federal agents staked out the Los Angeles-area SCA Health Ontario Advanced Surgery Center for three days following the July 8 confrontation, in which masked, plainclothes ICE agents chased a suspected illegal immigrant into the building. Federal officials on July 25 said Jose de Jesus Ortega and Danielle Davila have been charged with assaulting a federal officer and conspiracy to prevent by force and intimidation a federal officer from discharging his duties. Ortega was arrested on July 25, and authorities said they're still pursuing Davila. The video, which went viral, shows two surgery center workers in scrubs yelling and blocking one of the agents from detaining the man. Federal officials criticized what they said was a "false narrative" in the media and online that portrayed the detainee as a patient at the clinic. According to authorities, the ICE agents saw the truck stop outside the building, and when they approached the men, the men ran. According to court records, the agents had no specific knowledge that the man who ran into the clinic was living in the country illegally, and had been following the truck in which he was riding as part of a "roving patrol" in their unmarked vehicle. "The illegal alien arrested inside the surgery center was not a patient," United States Attorney Bill Essayli said in a statement. "He ran inside for cover and these defendants attempted to block his apprehension by assaulting our agents. It doesn't matter who you are or where you work, if you assault our agents or otherwise interfere with our operations, you will be arrested and charged with a federal crime." In a July 9 social media post, Homeland Security officials said the man who agents were chasing is Honduran national Denis Guillen-Solis. They said he was living illegally in the United States. "He ended up near the Ontario Advanced Surgical Center where hospital staff assaulted law enforcement and drug the officer and illegal alien into the facility," DHS said in the post. "Then, the staff attempted to obstruct the arrest by locking the door, blocking law enforcement vehicles from moving, and even called the cops claiming there was a 'kidnapping.'" The video is among the latest examples of people delaying or obstructing ICE agents carrying out President Donald Trump's mass-immigration initiative, which has also sparked widespread protests. The identities of the two ICE agents involved in the surgery center detention were not released. Federal officials say ICE agents are increasingly being assaulted or targeted by community members, which requires them to remain anonymous.