Sean Combs S DN:Cn=Sean Combs, O=Weston Ac En S Solutions, Inc., Ou=MNH, [email protected] Cc: WESTON Project File Combs Date2o11.01.25 1533:08 -0500
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Thesis, the Songs of 10 Rappers Were Analyzed
ABSTRACT Get Rich or Die Tryin’: A Semiotic Approach to the Construct of Wealth in Rap Music Kristine Ann Davis, M.A. Mentor: Sara J. Stone, Ph.D. For the past 30 years, rap music has made its way into the mainstream of America, taking an increasingly prominent place in popular culture, particularly for youth, its main consumers. This thesis looks at wealth through the lens of semiotics, an important component of critical/cultural theory, using a hermeneutical analysis of 11 rap songs, spanning the last decade of rap music to find signification and representation of wealth in the rap song lyrics. The research finds three important themes of wealth - relationship between wealth and the opposite sex, wealth that garners respect from other people, and wealth as a signifier for “living the good life” - and five signifiers of wealth – money, cars, attire, liquor, and bling. Get Rich or Die Tryin': A Semiotic Approach to the Construct of Wealth in Rap Music by Kristine Ann Davis, B.A. A Thesis Approved by the Department of Journalism ___________________________________ Clark Baker, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee ___________________________________ Sara J. Stone, Ph.D., Chairperson ___________________________________ Mia Moody-Ramirez, Ph.D. ___________________________________ Tony L.Talbert, Ed.D. Accepted by the Graduate School August 2011 ___________________________________ J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright ! 2011 by Kristine Ann Davis All rights reserved! CONTENTS ACKNOWLEDGMENTS v Chapter 1. -
There's No Shortcut to Longevity: a Study of the Different Levels of Hip
Running head: There’s No Shortcut to Longevity 1 This thesis has been approved by The Honors Tutorial College and the College of Business at Ohio University __________________________ Dr. Akil Houston Associate Professor, African American Studies Thesis Adviser ___________________________ Dr. Raymond Frost Director of Studies, Business Administration ___________________________ Cary Roberts Frith Interim Dean, Honors Tutorial College There’s No Shortcut to Longevity 2 THERE’S NO SHORTCUT TO LONGEVITY: A STUDY OF THE DIFFERENT LEVELS OF HIP-HOP SUCCESS AND THE MARKETING DECISIONS BEHIND THEM ____________________________________ A Thesis Presented to The Honors Tutorial College Ohio University _______________________________________ In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Business Administration ______________________________________ by Jacob Wernick April 2019 There’s No Shortcut to Longevity 3 Table of Contents List of Tables and Figures……………………………………………………………………….4 Abstract…………………………………………………………………………………………...5 Introduction…………………………………………………………………………………..6-11 Parameters of Study……………………………………………………………..6 Limitations of Study…………………………………………………………...6-7 Preface…………………………………………………………………………7-11 Literary Review……………………………………………………………………………..12-32 Methodology………………………………………………………………………………....33-55 Jay-Z Case Study……………………………………………………………..34-41 Kendrick Lamar Case Study………………………………………………...41-44 Soulja Boy Case Study………………………………………………………..45-47 Rapsody Case Study………………………………………………………….47-48 -
The Evolution of Commercial Rap Music Maurice L
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research. -
Final Nominations List
NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. FINAL NOMINATIONS LIST THE NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. Final Nominations List 58th Annual GRAMMY® Awards For recordings released during the Eligibility Year October 1, 2014 through September 30, 2015 Note: More or less than 5 nominations in a category is the result of ties. General Field Category 1 Category 2 Record Of The Year Album Of The Year Award to the Artist and to the Producer(s), Recording Engineer(s) Award to the Artist(s) and to the Album Producer(s), Recording Engineer(s) and/or Mixer(s) and mastering engineer(s), if other than the artist. and/or Mixer(s) & Mastering Engineer(s), if other than the artist. 1. REALLY LOVE 1. SOUND & COLOR D'Angelo And The Vanguard Alabama Shakes D'Angelo, producer; Russell Elevado & Ben Kane, Alabama Shakes & Blake Mills, producers; Shawn Everett, engineer/mixer; Bob Ludwig, mastering engineer engineers/mixers; Dave Collins, mastering engineer [ATO Records] Track from: Black Messiah [RCA Records] 2. TO PIMP A BUTTERFLY Kendrick Lamar 2. UPTOWN FUNK Bilal, George Clinton, James Fauntleroy, Ronald Isley, Rapsody, Mark Ronson Featuring Bruno Mars Snoop Dogg, Thundercat & Anna Wise, featured artists; Taz Arnold, Jeff Bhasker, Bruno Mars & Mark Ronson, producers; Josh Boi-1Da, Ronald Colson, Larrance Dopson, Flying Lotus, Fredrik Blair, Serban Ghenea, Wayne Gordon, John Hanes, Inaam "Tommy Black" Halldin, Knxwledge, Koz, Lovedragon, Terrace Haq, Boo Mitchell, Charles Moniz & Mark Ronson, Martin, Rahki, Sounwave, Tae Beast, Thundercat, Whoarei & engineers/mixers; Tom Coyne, mastering engineer Pharrell Williams, producers; Derek "Mixedbyali" Ali, Thomas Burns, James "The White Black Man" Hunt, 9th Wonder & Matt Track from: Uptown Special Schaeffer, engineers/mixers; Mike Bozzi, mastering engineer [RCA Records] [TDE/Aftermath/Interscope] 3. -
Finesse Mp3 Download Free Bruno Mars & Cardi B: "Finesse" (Remix) Free MP3 Download
finesse mp3 download free Bruno Mars & Cardi B: "Finesse" (Remix) Free MP3 Download. Bruno Mars is a well-acknowledged American single-songwriter, perfoming a wide variety of musical genres - pop, rock, R&B, hip hop and etc, and famous for a great many top-charting songs, such as “Just the Way You Are” & “Grenade” in his first album “Doo-Wops & Hooligans” , “Treasure” & “When I Was Your Man” in his second album “Unorthodox Jukebox” and the single “Uptown Funk” released afterwards. “Finesse” is originally a solo song in Bruno Mars’ third album “24K Magic” . But what makes it more popular is the remix version with Cardi B , which made the song surge to No. 3 from its’ 35 debut on US Billboard Hot 100. "Finesse" (Remix) is Bruno Mars’ and Cardi B’ second No. 1 on Streaming Songs, being available on both of the leading streaming music services – Spotify and Apple Music, as well as in iTunes Store. The following is a step-by-step tutorial on how to download Bruno Mars and Cardi B’s “Finesse” from Spotify Free to MP3 , without costing you a penny. Note: If you are an Apple Music subscriber, please refer to How to Download Songs from Apple Music to MP3 for more details. Tool Required: Free Spotify Music to MP3 Downloader. Spotify is a streaming music service offering three types of subscription: Spotify Free ($0.00 per month), Spotify Premium ($9.99 per month) and Spotify Family ($14.99 per month), and all the songs on Spotify are protected in DRM, for which we are limited to enjoy them with Spotify App. -
Puff Daddy
* FEC MAIL [IF) E RAT IO WS CE N T E R BEFORE THE FEDERAL ELECTION COMMISSION ID05 NOV -3 A Q 56 OF THE UNITED STATES OF AMERICA In the Matter of: Sean Combs a/k/a “P. Diddy” or “Puff Daddy” N 0 -0 Citizen Change =z 0< I u Co mdaint NATIONAL LEGAL AND POLICY CENTER, a corporation organized and existing under the District of Columbia Non-profit Corporation Act and having its offices and principal place of business at 107 Park Washington Court, Falls Church, VA 22046, files this complaint with the Federal Election Commission pursuant to 2 USC 8 437g. The primary purpose of the National Legal and Policy Center, a charitable and educational organization described in section 501(c)(3) of the Internal Revenue Code, is to foster and promote ethics in government and public life. Respondents are individuals and corporations who have apparently knowingly and willfully violated federal law, specifically the Federal Election Campaign Act of 1971 , as amended, (“the Act” and “FECA”) andor the Internal Revenue Code of the United States, and/or have apparently made illegal corporate contributions to influence a federal election. Remondents SEAN COMBS a/k/a known as “P. Diddy,” or “Puff Daddy,” 888 Seventh Avenue, New York, NY 10 106, (hereinafter “Combs”) is the founder and CEO of Bad Boy Worldwide Entertainment Group (hereinafter BBWEG) who undertook an illegal campaign during 2004 aimed at defeating President Bush in the presidential election of 2004. CITIZEN CHANGE, 1440 Broadway, 16m Floor, New York, NY 10018 is an entity that purports to be a “nonpartisan’’ organization, but whose exact legal status is not known. -
Pacific Sociological Association
Pacific Sociological Association Shake It, Baby, Shake It: Consumption and the New Gender Relation in Hip-Hop Author(s): Margaret Hunter Source: Sociological Perspectives, Vol. 54, No. 1 (Spring 2011), pp. 15-36 Published by: University of California Press Stable URL: http://www.jstor.org/stable/10.1525/sop.2011.54.1.15 . Accessed: 11/08/2011 02:26 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press and Pacific Sociological Association are collaborating with JSTOR to digitize, preserve and extend access to Sociological Perspectives. http://www.jstor.org SHAKE IT, BABY, SHAKE IT: CONSUMPTION AND THE NEW GENDER RELATION IN HIP-HOP MARGARET HUNTER Mills College ABSTRACT: Hip-hop is a popular music genre that has generated a multi-billion dollar industry. Although its gender and race relations have historically been problematic, they have recently transformed in particular ways. This study examines the forty-one best-selling rap videos of 2007– 2008. Through a qualitative content analysis of videos and lyrics several themes emerged. Hip-hop’s focus on conspicuous consumption, buttressed by the success of entrepreneurial rap moguls, has merged with strip club culture to create a new gender relation based on sexual transaction. -
The Rise and Fall Of
H The Rise and Fall of Chauncey “Loon” Hawkins was Harlem hustler royalty, a hit-writer for LOONPuff Daddy and a crucial part of the Bad Boy Records family. He looks back at the wave that took him and the wreckage it left behind BY THOMAS GOLIANOPOULOS The music video for “I Need a Girl (Part Two)” One”: The fans on the set—the women in friendliest prison guards man the front desk. is peak Puff Daddy absurdity, a guys’ night particular—weren’t there merely for Puff. “It A bit past nine a.m., Muhadith, the man who out of epic proportions that begins with a he- was amazing to hear people actually screaming revived Puff Daddy’s music career after writ- licopter landing and ends at a mansion party for me,” Loon recalls. “It was everything I had ing the “I Need a Girl” series, enters the room. featuring a girl-to-guy ratio of about 10 to one. worked for, everything I had strived for.” His standard-issue uniform consists of drab For Chauncey Hawkins, then known as the Then it all changed. Just as Hawkins had olive-green khakis, a matching button-down rapper Loon, it was the first time he felt like become Loon, Loon became Amir Junaid shirt and black Nike sneakers. For a man of 41, a hip-hop star. Muhadith, and then, in July 2013, he became Muhadith sports a privileged, tight hairline. Loon arrived on the Miami set that Febru- a federal inmate in North Carolina. Far from And though he’s gained 17 pounds since being ary 2002 afternoon with a plan. -
Sean Combs Re-Enters Fragrance by Marcy Medina - 03/20/2015
Diddy’s New Day: Sean Combs Re-enters Fragrance By Marcy Medina - 03/20/2015 Sean “Diddy” Combs wants to hit the “reset” button. After a six-year hiatus from the fragrance business once Estée Lauder Cos. Inc. didn’t renew his license, Combs is back on May 6 with a new fragrance, 3AM, under a new partner, Parlux. He is hoping he can regain relevancy in the category, even as the celebrity fragrance sector appears to be dissolving faster than a test spray in the air. Which is perhaps why Combs doesn’t want it to be called a celebrity fragrance. He views himself as equal parts fashion player, music mogul and pop culture pulse-reader. That may not render him immune to market forces, but he’s aiming to get ahead of the tide by leveraging his established status and playing to Millennials via social media. “I take my hat off to all celebrities who have a fragrance to give people a part of their lifestyle. But for me, it was important to take a break from celebrity persona fragrances, because we were kind of jumbled up with them,” said Combs, whose last launch was in 2009 with I Am King, a follow-up to 2006’s Unforgivable. “We’re a true fashion label and this is something we take very seriously. So to make people miss it, that was my plan.” Speaking to WWD from the downtown Los Angeles set of 3AM’s first commercial shoot, in the penthouse of a pricey residential loft building, Combs has changed out of his custom suit into a black Versace tracksuit to enjoy some fresh air and a coffee outside his trailer, drawing more than a few curious glances from pedestrians. -
Journal of Hip Hop Studies
et al.: Journal of Hip Hop Studies June 2016 Published by VCU Scholars Compass, 2016 1 Journal of Hip Hop Studies, Vol. 3 [2016], Iss. 1, Art. 1 Editor in Chief: Daniel White Hodge, North Park University Senior Editorial Advisory Board: Anthony Pinn, Rice University James Paterson, Lehigh University Book Review Editor: Gabriel B. Tait, Arkansas State University Associate Editors: Cassandra Chaney, Louisiana State University Jeffrey L. Coleman, St. Mary’s College of Maryland Monica Miller, Lehigh University Associate & Copy Editor: Travis Harris, PhD Student, College of William and Mary Editorial Board: Dr. Rachelle Ankney, North Park University Dr. Jason J. Campbell, Nova Southeastern University Dr. Jim Dekker, Cornerstone University Ms. Martha Diaz, New York University Mr. Earle Fisher, Rhodes College/Abyssinian Baptist Church, United States Dr. Daymond Glenn, Warner Pacific College Dr. Deshonna Collier-Goubil, Biola University Dr. Kamasi Hill, Interdenominational Theological Center Dr. Andre E. Johnson, University of Memphis Dr. David Leonard, Washington State University Dr. Terry Lindsay, North Park University Ms. Velda Love, North Park University Dr. Anthony J. Nocella II, Hamline University Dr. Priya Parmar, SUNY Brooklyn, New York Dr. Soong-Chan Rah, North Park University Dr. Rupert Simms, North Park University Dr. Darron Smith, University of Tennessee Health Science Center Dr. Jules Thompson, University Minnesota, Twin Cities Dr. Mary Trujillo, North Park University Dr. Edgar Tyson, Fordham University Dr. Ebony A. Utley, California State University Long Beach, United States Dr. Don C. Sawyer III, Quinnipiac University https://scholarscompass.vcu.edu/jhhs/vol3/iss1/1 2 et al.: Journal of Hip Hop Studies . Sponsored By: North Park Universities Center for Youth Ministry Studies (http://www.northpark.edu/Centers/Center-for-Youth-Ministry-Studies) Save The Kids Foundation (http://savethekidsgroup.org/) Published by VCU Scholars Compass, 2016 3 Journal of Hip Hop Studies, Vol. -
Sean Combs and Kim Porterao Ordinaryove
Sean Combs and Kim Porterao Ordinaryove With the release of the most important and personal album of his career, Sean and a very pregnant Kim sit down for a heartbreakingly honest Jeannine Amber interview_ with and talk for the first time about monogamy, marriage and why the relationship that confounds so many works so well Sean Combs and Kim Porter were Say “Diddy” photographed by Mark Liddell Kim wears a Zac Posen dress at the Hotel on Rivington in and a Garrard necklace. Sean New York City, October 6, 2006. wears a DSquared2 sweater and his own jewelry. > Porter styled by Agnes Cammock. Combs styled by Marni Senofonte. ESSENCE 175 12.2006 Sean on Kim: “She deserves to get married. But I’m just not ready. It’s not a reflection on how much I love Kim. It’s that I’m just learning how to be a good boyfriend.” ean “Diddy” Combs emerges from the bedroom in his Soon after, Andre Harrell, founder of Uptown Records, hired suite on the thirty-fifth floor of the Four Seasons Ho- Porter as a receptionist. “Puff was in love with her from the first tel in midtown Manhattan wearing a tan Sean John time he saw her,” remembers Harrell. “You could tell from the way sweat suit. He’s ready for breakfast, even though it’s he looked at her.” Every morning when he showed up for work, Spast noon. Sitting down at the dining table in his suite, Porter would give Combs a smile. But still he didn’t make a move. -
Three-Time Grammy® Winner and Music Mogul Sean "Diddy" Combs to Receive Industry Icon Honor
THREE-TIME GRAMMY® WINNER AND MUSIC MOGUL SEAN "DIDDY" COMBS TO RECEIVE INDUSTRY ICON HONOR THE RECORDING ACADEMY® AND CLIVE DAVIS TO HOST THE ILLUSTRIOUS PRE-GRAMMY GALA ON SATURDAY, JAN. 25, 2020 SANTA MONICA, CALIF. (DEC. 18, 2019) — Recognized for his 25-year trailblazing career and continuous influence on the music industry and beyond, three-time GRAMMY® winner and multi-hyphenate Sean ‘Diddy’ Combs is named as the 2020 GRAMMY Salute To Industry Icons® honoree. The Recording Academy® and Clive Davis will celebrate Combs musical accomplishments at the annual Pre-GRAMMY Gala on Saturday, Jan. 25, 2020, the evening preceding the 62nd Annual GRAMMY Awards®. “For nearly three decades, Diddy has fused his boundless creativity and sharp entrepreneurial spirit to create timeless art and build brands and institutions that have shifted our global music culture,” said Deborah Dugan, President/CEO of the Recording Academy. “By bringing the music and lifestyle of East Coast hip-hop to the masses, he was an early reminder of music’s unifying ability to flip our perceptions and broaden our connections to all corners of the world. Over the years, Diddy has persistently empowered other music creators and we’re honored to celebrate his culture-shaping impact at this year’s Pre-GRAMMY Gala.” “It’s personally so gratifying that Sean “Puffy” Combs is this year’s icon. He fully deserves this wonderful recognition,” said Clive Davis, co-host of the Pre-GRAMMY Gala. “From his past innovative and creative contributions right from the very inception of the hip hop revolution, to his many memorable appearances at the Pre Grammy Gala as both speaker and performer, it’s all come full circle.