Roc a Fella Records Logo
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
An N U Al R Ep O R T 2018 Annual Report
ANNUAL REPORT 2018 ANNUAL REPORT The Annual Report in English is a translation of the French Document de référence provided for information purposes. This translation is qualified in its entirety by reference to the Document de référence. The Annual Report is available on the Company’s website www.vivendi.com II –— VIVENDI –— ANNUAL REPORT 2018 –— –— VIVENDI –— ANNUAL REPORT 2018 –— 01 Content QUESTIONS FOR YANNICK BOLLORÉ AND ARNAUD DE PUYFONTAINE 02 PROFILE OF THE GROUP — STRATEGY AND VALUE CREATION — BUSINESSES, FINANCIAL COMMUNICATION, TAX POLICY AND REGULATORY ENVIRONMENT — NON-FINANCIAL PERFORMANCE 04 1. Profile of the Group 06 1 2. Strategy and Value Creation 12 3. Businesses – Financial Communication – Tax Policy and Regulatory Environment 24 4. Non-financial Performance 48 RISK FACTORS — INTERNAL CONTROL AND RISK MANAGEMENT — COMPLIANCE POLICY 96 1. Risk Factors 98 2. Internal Control and Risk Management 102 2 3. Compliance Policy 108 CORPORATE GOVERNANCE OF VIVENDI — COMPENSATION OF CORPORATE OFFICERS OF VIVENDI — GENERAL INFORMATION ABOUT THE COMPANY 112 1. Corporate Governance of Vivendi 114 2. Compensation of Corporate Officers of Vivendi 150 3 3. General Information about the Company 184 FINANCIAL REPORT — STATUTORY AUDITORS’ REPORT ON THE CONSOLIDATED FINANCIAL STATEMENTS — CONSOLIDATED FINANCIAL STATEMENTS — STATUTORY AUDITORS’ REPORT ON THE FINANCIAL STATEMENTS — STATUTORY FINANCIAL STATEMENTS 196 Key Consolidated Financial Data for the last five years 198 4 I – 2018 Financial Report 199 II – Appendix to the Financial Report 222 III – Audited Consolidated Financial Statements for the year ended December 31, 2018 223 IV – 2018 Statutory Financial Statements 319 RECENT EVENTS — OUTLOOK 358 1. Recent Events 360 5 2. Outlook 361 RESPONSIBILITY FOR AUDITING THE FINANCIAL STATEMENTS 362 1. -
The Life & Rhymes of Jay-Z, an Historical Biography
ABSTRACT Title of Dissertation: THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 Omékongo Dibinga, Doctor of Philosophy, 2015 Dissertation directed by: Dr. Barbara Finkelstein, Professor Emerita, University of Maryland College of Education. Department of Teaching and Learning, Policy and Leadership. The purpose of this dissertation is to explore the life and ideas of Jay-Z. It is an effort to illuminate the ways in which he managed the vicissitudes of life as they were inscribed in the political, economic cultural, social contexts and message systems of the worlds which he inhabited: the social ideas of class struggle, the fact of black youth disempowerment, educational disenfranchisement, entrepreneurial possibility, and the struggle of families to buffer their children from the horrors of life on the streets. Jay-Z was born into a society in flux in 1969. By the time Jay-Z reached his 20s, he saw the art form he came to love at the age of 9—hip hop— become a vehicle for upward mobility and the acquisition of great wealth through the sale of multiplatinum albums, massive record deal signings, and the omnipresence of hip-hop culture on radio and television. In short, Jay-Z lived at a time where, if he could survive his turbulent environment, he could take advantage of new terrains of possibility. This dissertation seeks to shed light on the life and development of Jay-Z during a time of great challenge and change in America and beyond. THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 An historical biography: 1969-2004 by Omékongo Dibinga Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Advisory Committee: Professor Barbara Finkelstein, Chair Professor Steve Klees Professor Robert Croninger Professor Derrick Alridge Professor Hoda Mahmoudi © Copyright by Omékongo Dibinga 2015 Acknowledgments I would first like to thank God for making life possible and bringing me to this point in my life. -
Russell Simmons Russell Simmons Has Been the Leader in Bringing The
Russell Simmons Russell Simmons has been the leader in bringing the powerful influence of hip-hop culture to every facet of business and media since its inception in the late 1970s through current day, in which its integration into mainstream American Culture means an entirely new, post-racial, progressive America. Simmons' businesses have always been rooted in giving a powerful voice to emerging creative and social movements, and integrating them into the American psyche. His business successes have spanned music, film, television, fashion, the jewelry industry, video games, online and financial services; his activism has encompassed all of the areas touched by his businesses, including poverty, education and ignorance. From producing and/or managing such early hip-hop artists as Kurtis Blow, Run DMC, Will Smith and the Beastie Boys to signing seminal luminaries like Jay Z, LL Cool J and Ludacris to his iconic record label, Def Jam Recordings, Simmons’ groundbreaking vision and the cultural revolution became the international phenomenon now known as hip-hop. Following his departure from Def Jam, in 1999, Russell created a fashion empire in Phat Farm, which begat Baby Phat and Run Athletics, and put the definitive stake in the ground for urban streetwear, to which others followed including: Roc-A-Wear, Sean John, Derion, Enyce, Ecko and many others. His film and television production company with partner Stan Lathan, Simmons Lathan Media Group, created the wildly successful HBO series, “Def Comedy Jam “ (8 million DVDS sold), “Russell Simmons Presents Def Poetry,” and “HBO Presents Brave New Voices,” the Hollywood box office success “The Nutty Professor,” the Tony Award-winning stage production “Russell Simmons Presents Def Poetry Jam on Broadway,” the international hit on MTV “Run’s House,” and most recently the successful first season of “Running Russell Simmons.” In 2003, Simmons co-founded Unirush Financial Services with consumer debt investor David Rosenberg. -
Aaron Harrison
Before the UNITED STATES COPYRIGHT ROYALTY JUDGES Library of Congress Washington, D.C. ) In re ) ) DETERMINATION OF ROYALTY ) DOCKET NO. 14-CRB-0001-WR RATES AND TERMS FOR ) (2016-2020) EPHEMERAL RECORDING AND ) DIGITAL PERFORMANCE OF SOUND ) RECORDINGS (WEB IV) ) ) TESTIMONY OF AARON HARRISON Senior Vice President, Business & Legal Affairs, Global Digital Business, UMG Recordings, Inc. PUBLIC VERSION Witness for SoundExchange, Inc. PUBLIC VERSION BACKGROUND 1. I am Senior Vice President, Business & Legal Affairs, Global Digital Business, UMG Recordings, Inc. (“UMG Recordings”), a position I have held since 2013. UMG Recordings, Inc. is the primary recorded music company in the United States for the Universal Music Group. Universal Music Group (hereafter, “Universal”) is the colloquial name for the group of music related companies owned by Vivendi S.A. Together, these companies comprise the world’s largest recorded music company. Along with other members of the Business & Legal Affairs team in the Global Digital Business department, I negotiate deals with various digital music services that use Universal’s repertoire of sound recordings. Such services include on-demand and customized streaming services, download and ringtone stores, locker services, and various types of subscription services. I have negotiated deals on Universal’s behalf for the past nine years. During that time, I have negotiated more than 100 agreements with digital music services. 2. Prior to assuming my current position, I was Vice President, Business & Legal Affairs, eLabs, UMG Recordings. I began my employment with UMG Recordings in 2005 as Director, Business & Legal Affairs, eLabs. Prior to joining UMG Recordings, I was an attorney with the law firm Manatt, Phelps & Phillips, LLP, where my practice focused primarily on talent representation and advising companies in the acquisition of intellectual property and branded entertainment rights. -
Sonic Jihadâ•Flmuslim Hip Hop in the Age of Mass Incarceration
FIU Law Review Volume 11 Number 1 Article 15 Fall 2015 Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt Follow this and additional works at: https://ecollections.law.fiu.edu/lawreview Part of the Other Law Commons Online ISSN: 2643-7759 Recommended Citation SpearIt, Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration, 11 FIU L. Rev. 201 (2015). DOI: https://dx.doi.org/10.25148/lawrev.11.1.15 This Article is brought to you for free and open access by eCollections. It has been accepted for inclusion in FIU Law Review by an authorized editor of eCollections. For more information, please contact [email protected]. 37792-fiu_11-1 Sheet No. 104 Side A 04/28/2016 10:11:02 12 - SPEARIT_FINAL_4.25.DOCX (DO NOT DELETE) 4/25/16 9:00 PM Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt* I. PROLOGUE Sidelines of chairs neatly divide the center field and a large stage stands erect. At its center, there is a stately podium flanked by disciplined men wearing the militaristic suits of the Fruit of Islam, a visible security squad. This is Ford Field, usually known for housing the Detroit Lions football team, but on this occasion it plays host to a different gathering and sentiment. The seats are mostly full, both on the floor and in the stands, but if you look closely, you’ll find that this audience isn’t the standard sporting fare: the men are in smart suits, the women dress equally so, in long white dresses, gloves, and headscarves. -
CORRECTING and REPLACING Infospace Mobile and the Island Def Jam Music Group Produce First Live Ringtone at Hip Hop Sensation Ludacris' "Red Light District" CD
CORRECTING and REPLACING InfoSpace Mobile and The Island Def Jam Music Group Produce First Live Ringtone at Hip Hop Sensation Ludacris' "Red Light District" CD CORRECTION...by InfoSpace Mobile ATLANTA--(BUSINESS WIRE)--Dec. 2, 2004--Please replace the release with the following corrected version due to multiple revisions. The corrected release reads: INFOSPACE MOBILE AND THE ISLAND DEF JAM MUSIC GROUP PRODUCE FIRST LIVE RINGTONE AT HIP HOP SENSATION LUDACRIS' "RED LIGHT DISTRICT" CD RELEASE PARTY InfoSpace Mobile and The Island Def Jam Music Group are embarking on an industry first today as the leading producer of mobile content and top hip hop label will record and publish the first live music ringtone. The recording will take place at the CD release party for the award winning, multi-platinum Def Jam South artist Ludacris and his highly anticipated 4th album Red Light District tonight in Atlanta. "I wish all my fans could come to Atlanta for this party," said Ludacris. "This will be one of the only ways for my fans to hear me live before I tour!" The deal is indicative of how music artists are embracing the mobile medium as a means to extend their brands, interact with their fans on a personal level and create new revenue streams. In addition to recording four exclusive, live ringtones, InfoSpace Mobile will be offering consumers exclusive Ludacris images through its carrier partners. The first ringtone will be a live recording of the album's first single, "Get Back," and the exclusive images will be from the "Get Back" video, directed by renowned director, Spike Jonze. -
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27
Case 2:21-cv-04848 Document 1 Filed 06/15/21 Page 1 of 12 Page ID #:1 1 QUINN EMANUEL URQUHART & SULLIVAN, LLP 2 Alex Spiro (pro hac vice pending) [email protected] 3 51 Madison Avenue, 22nd Floor New York, New York 10010 4 Telephone: (212) 849-7000 Facsimile: (212) 849-7100 5 Robert M. Schwartz (Bar No. 117166) 6 [email protected] Dylan C. Bonfigli (Bar No. 317185) 7 [email protected] 865 South Figueroa Street, 10th Floor 8 Los Angeles, California 90017-2543 Telephone: (213) 443-3000 9 Facsimile: (213) 443-3100 10 Attorneys for Plaintiff Shawn (JAY-Z) Carter 11 12 UNITED STATES DISTRICT COURT 13 CENTRAL DISTRICT OF CALIFORNIA, WESTERN DIVISION 14 15 SHAWN CARTER, also known as Case No. 2:21-cv-4848 JAY-Z, an individual, 16 COMPLAINT FOR Plaintiff, 17 1. VIOLATION OF SECTION v. 3344 OF THE CALIFORNIA 18 CIVIL CODE JONATHAN MANNION, an 19 individual, and JONATHAN 2. VIOLATION OF THE MANNION PHOTOGRAPHY LLC, a CALIFORNIA COMMON 20 New York limited liability company, LAW RIGHT OF PUBLICITY 21 Defendants. JURY TRIAL DEMAND 22 23 24 25 26 27 28 COMPLAINT Case 2:21-cv-04848 Document 1 Filed 06/15/21 Page 2 of 12 Page ID #:2 1 Plaintiff Shawn (JAY-Z) Carter, upon his personal knowledge and 2 information and belief alleges as follows against defendants Jonathan Mannion and 3 Jonathan Mannion Photography LLC (collectively, “Mannion”). 4 NATURE OF THE ACTION 5 1. JAY-Z brings this action to stop Jonathan Mannion from exploiting 6 JAY-Z’s name and image without JAY-Z’s consent. -
Jay Z Nas Live
Jay z nas live click here to download With JAY-Z and Beyoncé releasing their album a day after Nas' He likened his mind to a Lexus on “Can I Live” (“My mind is infested, with sick. Jay-Z and Nas united onstage at the Continental Airlines Arena, embracing each other and performing together. No, this was happening live. Nas hit the stage this past weekend at Coachella to perform 'Illmatic' - his seminal debut Nas Performs 'Illmatic' In Full & Rocks With Jay Z Live At Coachella. Let's backtrack to an earlier time when Jay Z and Nas vied for New York Recall that Jay likened his mind to a Lexus on "Can I Live" ("My mind. Nas is not salty Jay-Z and Beyonce dropped their joint album the day after his. Jay-Z and Beyonce dropping their surprise album the day after Nas released TMZ Live: A-Rod's Spousal & Child Support War With Ex-Wife. On this day, Oct. 27, in hip-hop history JAY-Z AND NAS REUNITED:LIVE. Subscribe to XXL on. It was one of the most famous feuds in. Shawn Corey Carter (born December 4, ) known professionally as Jay-Z ( stylized as . Nas responded with a diss track called "Ether" and Jay-Z straightaway added a The album's only single, "Numb/Encore", went on to win a Grammy for Best Rap/Sung Collaboration, and was performed with Linkin Park live at the. Many say Jay Z is the one of greatest rappers of all time. However, others say that Nas is one of the greatest rappers who ever lived. -
8123 Songs, 21 Days, 63.83 GB
Page 1 of 247 Music 8123 songs, 21 days, 63.83 GB Name Artist The A Team Ed Sheeran A-List (Radio Edit) XMIXR Sisqo feat. Waka Flocka Flame A.D.I.D.A.S. (Clean Edit) Killer Mike ft Big Boi Aaroma (Bonus Version) Pru About A Girl The Academy Is... About The Money (Radio Edit) XMIXR T.I. feat. Young Thug About The Money (Remix) (Radio Edit) XMIXR T.I. feat. Young Thug, Lil Wayne & Jeezy About Us [Pop Edit] Brooke Hogan ft. Paul Wall Absolute Zero (Radio Edit) XMIXR Stone Sour Absolutely (Story Of A Girl) Ninedays Absolution Calling (Radio Edit) XMIXR Incubus Acapella Karmin Acapella Kelis Acapella (Radio Edit) XMIXR Karmin Accidentally in Love Counting Crows According To You (Top 40 Edit) Orianthi Act Right (Promo Only Clean Edit) Yo Gotti Feat. Young Jeezy & YG Act Right (Radio Edit) XMIXR Yo Gotti ft Jeezy & YG Actin Crazy (Radio Edit) XMIXR Action Bronson Actin' Up (Clean) Wale & Meek Mill f./French Montana Actin' Up (Radio Edit) XMIXR Wale & Meek Mill ft French Montana Action Man Hafdís Huld Addicted Ace Young Addicted Enrique Iglsias Addicted Saving abel Addicted Simple Plan Addicted To Bass Puretone Addicted To Pain (Radio Edit) XMIXR Alter Bridge Addicted To You (Radio Edit) XMIXR Avicii Addiction Ryan Leslie Feat. Cassie & Fabolous Music Page 2 of 247 Name Artist Addresses (Radio Edit) XMIXR T.I. Adore You (Radio Edit) XMIXR Miley Cyrus Adorn Miguel Adorn Miguel Adorn (Radio Edit) XMIXR Miguel Adorn (Remix) Miguel f./Wiz Khalifa Adorn (Remix) (Radio Edit) XMIXR Miguel ft Wiz Khalifa Adrenaline (Radio Edit) XMIXR Shinedown Adrienne Calling, The Adult Swim (Radio Edit) XMIXR DJ Spinking feat. -
Cam'ron, Roc Army [DJ Clue] Part 1!
Cam'ron, Roc Army [DJ Clue] Part 1! [Memphis Bleek] The Roc! [Jay-Z] Roc, yeah y'all it's the Roc [DJ Clue] New shit, Roc Army (Chorus) [Scratches (Jay-Z)] "Memph, Memph, Memph, Memph Bleek" <--- Memphis Bleek (Roc-a-fella is the Army) "Mac, Mac, Mac" <--- Beanie Sigel "Sparks, O" <--- Jay-Z (Roc-a-fella is the Army) "Lil Chris, Lil Neef" <--- Beanie Sigel "Freeway" <--- Jay-Z (Roc-a-fella is the Army) "Killa," "Cam'Ron" <--- Cam'Ron "Jigga" <--- Jay-Z ("R-O-C Niggas") <--- Jay-Z (Roc-a-fella is the Army) [DJ Clue over the chorus] Jay-Z, Peedi Crakk Cam'Ron, Freeway What Clue [Jay-Z] Illest since the Row had it, nigga now the Roc got it Nigga get you blocka'ed lean em like a dope addict Hov the hustler, CD's a coke habit Ya dancing wit the devil, muh'fuckas is slow draggin (C'MON) Hov is big homie, Beanie is the co-captain [Freeway] I'll A.K. ya tee, don't forget about Free Chris and Neef, Sparks and Oski All my niggas on the streets get low with M. Bleek (Whew!) Who the fuck want what [Cam'Ron] It's the newest addition, mathematician Cracks in the kitchen, multiplication Rocks that I slash with precision Killa Cam Motherfucker [Freeway (Cam'Ron)] We got gats tearin the basement Mac in the car, clap from a distance (Kill ya man motherfucker) They track stars, half of them racin Run from the gate, straight to the district -
Appraisal of Beyoncé Knowles As a Popular Artist: Analysing the Evaluative Discourses of the Online Fan Base
Appraisal of Beyoncé Knowles as a popular artist: Analysing the evaluative discourse of the online fan base Zareena Shabodien A thesis submitted in partial fulfillment of the requirements for a degree in Magister Artium in the Department of Linguistics, University of the Western Cape. Supervisor: Professor Felix Banda July 2011 CONTENTS Keywords i Abstract ii Declaration iv Acknowledgements v CHAPTER 1 Introduction 1 1.0 Preamble 1 1.1 Linguistic landscape 2 1.2 Rationale 3 1.3 Aims and objectives of the research 4 1.3.1 Aim 4 1.3.2 Objectives 5 1.4 Research questions 5 1.5 Scope of the study 6 1.6 Research design and methodology 6 1.7 Chapter outline 6 CHAPTER 2 Literature review 9 2.0 Introduction 9 2.1 Beyoncé Giselle Knowles as a popular artist. 9 2.2 Hip-Hop and cultural authenticity 13 2.3 Double-voicing and multi-vocality 15 2.4 An exploration into transgressive theories 19 2.5 Evil symbolism in relation to Beyoncé Knowles 20 2.6 Drawing on intertextuality and resemiotization 24 2.7 Question of identities 30 2.8 Gender as role 38 2.9 Evaluating discourse analysis 39 CHAPTER 3 Theoretical analytical framework 42 3.0 Introduction 42 3.1 A brief outline of Systemic Functional Linguistics 42 (SFL) 3.2 Appraisal theory 45 3.2.1 Attitude 46 3.2.2 Affect 47 3.2.3 Judgement 48 3.3.4 Appreciation 49 3.2.5 Graduation 50 CHAPTER 4 Research design and methodology 53 4.0 Introduction 53 4.1 Research design and data analysis 53 4.2 Critical Discourse Analysis (CDA) 56 4.3 Sampling 58 4.4 Data collection method and description of data 59 4.5 -
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