Case No. Roc-A-Fella Records, Inc
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Puma Kylie Rihanna 1
Buzz Queens Why Rihanna and Kylie Jenner are critical to Puma’s ambitious new women’s push. By Sheena Butler-Young GE CHINSEE R O E S: G R THE O L AL AND; R B F O Y S E T R U O C : BU AM J OCK; ST R SHUTTE X Behind S: LEPORE: RE the scenes ofO a recent FentyOT design meetingPH ver Easter weekend, why Puma is making the trendset- are nothing new, but the German Rihanna was relishing ting songstress a cornerstone of its footwear-and-apparel maker’s col- a rare few hours of business strategy. laborations with two of pop culture’s O downtime in New But the brand isn’t stopping there. most influential women are not of Last week, the highly anticipated the garden variety. from her Anti World Tour. Scores sneaker from Puma’s campaign with Rihanna, Puma’s women’s creative of paparazzi snapped flicks of the Kylie Jenner hit stores, fueling a new director since December 2014, and UMA P star as she ran errands in a black wave of buzz after the queen of social Kylie Jenner, the brand’s newest F O Vetements hoodie and fur slides media teased her partnership for the ambassador, represent a strategic Y S E T from her Fenty x Puma collection. past month on Instagram. R U O Make no mistake about it: Puma to the women’s market in an unprec- C S: Rihanna’s every fashion move is a is serious about girl power. edented way. O OT statement for the masses. -
Jay-Z: in Tha’ Mix
ASC 1138--JAY-Z: IN THA’ MIX JAY-Z: IN THA’ MIX CREDIT HOURS Leta Hendricks [email protected] Tel: 614-688-7478 Classroom – Room 150A Thompson Library Class Meeting – Fridays – 1:30 – 2:18 p.m. January 11 – April 19, 2013 Office Hours – Tuesday – 9:00 – 11:00 a.m. and by appointment WEB Site – Twitter – Second Life- Hip Hop Underground http://slurl.com/secondlife/Cybrary%20City%20II/77/198/8 SYLLABUS COURSE DESCRIPTION JAY-Z is an entrepreneurial phenomenon of the last the twenty years. This seminar examines JAY-Z from different perspectives as an artist and as a businessman. The seminar will discuss perspectives and beliefs about rap music and popular culture. JAY-Z is currently one of the most influential iconic figures of Global Pop Culture. His music embodies the quintessentially “African American” genre of music, we will study his musical roots, trace the development of his career and connect JAY-Z with his culture. An analysis of his business empire will include his drug-marked youth, musical achievements, and urban-informed business savvy. The Seminar will discuss his lyrics and their meanings which reveal JAY-Z’s art and life. JAY-Z heavily borrows from American musical and literary traditions through an examination of select recordings, autobiography, film, essays and criticism, this Seminar will provide students the opportunity to discover the significance of JAY-Z’s contributions to lyric writing, popular music, and beyond. The following resources will facilitate students learning development by using multiple content formats. DJ Hero will engage students through gameplay, simulating DJ turntablism (mixing styles and techniques) connecting gaming activities to assignments, discussions, and projects on JAY-Z and current Rap artists. -
EXTENSIONS of REMARKS December 4, 1973 Port on S
39546 EXTENSIONS OF REMARKS December 4, 1973 port on S. 1443, the foreign aid author ADJOURNMENT TO 11 A.M. Joseph J. Jova, of Florida, a Foreign Serv ization bill. ice officer of the class of career minister, to Mr. ROBERT C. BYRD. Mr. Presi be Ambassador Extraordinary and Plenipo There is a time limitaiton thereon. dent, if there be no further business to tentiary of the United States of America to There will be at least one yea-and-nay come before the Senate, I move, in ac Mexico. vote, I am sure, on the adoption of the cordance with the previous order, that Ralph J. McGuire, of the District of Colum. bia, a Foreign Service officer of class 1, to be conference report, and there may be the Senate stand in adjournment until Ambassador Extraordinary and Plenipoten other votes. the hour of 11 o'clock a.m. tomorrow. t iary cf the United States of America to the On the disposition of the conference The motion was agreed to; and at 6: 45 Republic of Mali. report on the foreign aid authorization p.m., the Senate adjourned until tomor Anthony D. Marshall, of New York, to be row, Wednesday, December 5, 1973, at Ambassador Extraordinary and Plenipoten bill, S. 1443, the Senate will take up tiary of the United States of America to the Calendar Order No. 567, S. 1283, the so lla.m. Republic of Kenya. called energy research and development Francis E. Meloy, Jr., of the District of bill. I am sure there will be yea and Columbia, a Foreign Service officer of the NOMINATIONS class of career minister, to be Amb1ssador nay votes on amendments thereto to Extraordinary and Plenipotentiary of the morrow. -
Press Release San Francisco, CA 94104 Tel: 415.358.3500 Fax: 415.358.3555
580 California Street Suite 2000 Press Release San Francisco, CA 94104 Tel: 415.358.3500 Fax: 415.358.3555 Iconix Brand Group Announces Sale of Peanuts and Strawberry Shortcake Brands - Entertainment sale strengthens Iconix’ financial condition - Proceeds plus cash to pay down debt; transactions will be earnings neutral - Focusing resources to drive growth in fashion, active and home NEW YORK, May 10, 2017 /PRNewswire/ -- Iconix Brand Group, Inc. (Nasdaq: ICON) (“Iconix” or the “Company”), today announced that it has entered into a definitive agreement to sell its interest in the Peanuts and Strawberry Shortcake brands to DHX Media Ltd. for $345 million in cash, subject to a customary working capital adjustment. John Haugh, Chief Executive Officer of Iconix, said, “One of our strategic objectives has been to de-lever and strengthen our balance sheet. This sale aligns with this objective. As we monetize the value we have created in our entertainment business, we can reduce our debt and pay down a term loan that is expensive and highly restrictive. We are now focused on a second strategic objective of driving profitable revenue growth by focusing our resources on the businesses where we have a leadership position- fashion, active and home. Peanuts and Strawberry Shortcake are iconic entertainment properties, and we are proud of the contributions Iconix has made to these brands. Specifically with Peanuts, in partnership with the Schulz family, we have produced the first-ever feature film, delivered countless worldwide collaborations and significantly grown the worldwide presence of Peanuts.” The Company intends to use the net proceeds from this transaction plus additional cash on the balance sheet to pay down approximately $362 million of debt. -
1. Summer Rain by Carl Thomas 2. Kiss Kiss by Chris Brown Feat T Pain 3
1. Summer Rain By Carl Thomas 2. Kiss Kiss By Chris Brown feat T Pain 3. You Know What's Up By Donell Jones 4. I Believe By Fantasia By Rhythm and Blues 5. Pyramids (Explicit) By Frank Ocean 6. Under The Sea By The Little Mermaid 7. Do What It Do By Jamie Foxx 8. Slow Jamz By Twista feat. Kanye West And Jamie Foxx 9. Calling All Hearts By DJ Cassidy Feat. Robin Thicke & Jessie J 10. I'd Really Love To See You Tonight By England Dan & John Ford Coley 11. I Wanna Be Loved By Eric Benet 12. Where Does The Love Go By Eric Benet with Yvonne Catterfeld 13. Freek'n You By Jodeci By Rhythm and Blues 14. If You Think You're Lonely Now By K-Ci Hailey Of Jodeci 15. All The Things (Your Man Don't Do) By Joe 16. All Or Nothing By JOE By Rhythm and Blues 17. Do It Like A Dude By Jessie J 18. Make You Sweat By Keith Sweat 19. Forever, For Always, For Love By Luther Vandros 20. The Glow Of Love By Luther Vandross 21. Nobody But You By Mary J. Blige 22. I'm Going Down By Mary J Blige 23. I Like By Montell Jordan Feat. Slick Rick 24. If You Don't Know Me By Now By Patti LaBelle 25. There's A Winner In You By Patti LaBelle 26. When A Woman's Fed Up By R. Kelly 27. I Like By Shanice 28. Hot Sugar - Tamar Braxton - Rhythm and Blues3005 (clean) by Childish Gambino 29. -
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. -
The Case of Rihanna: Erotic Violence and Black Female Desire
Fleetwood_Fleetwood 8/15/2013 10:52 PM Page 419 Nicole R. Fleetwood The Case of Rihanna: Erotic Violence and Black Female Desire Note: This article was drafted prior to Rihanna and Chris Brown’s public reconciliation, though their rekindled romance supports many of the arguments outlined herein. Fig. 1: Cover of Esquire, November 2011 issue, U. S. Edition. Photograph by Russell James. he November 2011 issue of Esquire magazine declares Rihanna “the sexiest Twoman alive.” On the cover, Rihanna poses nude with one leg propped, blocking view of her breast and crotch. The entertainer stares out provocatively, with mouth slightly ajar. Seaweed clings to her glistening body. A small gun tattooed under her right arm directs attention to her partially revealed breast. Rihanna’s hands brace her body, and her nails dig into her skin. The feature article and accompanying photographs detail the hyperbolic hotness of the celebrity; Ross McCammon, the article’s author, acknowledges that the pop star’s presence renders him speechless and unable to keep his composure. Interwoven into anecdotes and narrative scenes explicating Rihanna’s desirability as a sexual subject are her statements of her sexual appetite and the pleasure that she finds in particular forms of sexual play that rehearse gendered power inequity and the titillation of pain. That Rihanna’s right arm is carefully positioned both to show the tattoo of the gun aimed at her breast, and that her fingers claw into her flesh, commingle sexual pleasure and pain, erotic desire and violence. Here and elsewhere, Rihanna employs her body as a stage for the exploration of modes of violence structured into hetero- sexual desire and practices. -
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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. -
Hip Hop Feminism Comes of Age.” I Am Grateful This Is the First 2020 Issue JHHS Is Publishing
Halliday and Payne: Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Come Published by VCU Scholars Compass, 2020 1 Journal of Hip Hop Studies, Vol. 7, Iss. 1 [2020], Art. 1 Editor in Chief: Travis Harris Managing Editor Shanté Paradigm Smalls, St. John’s University Associate Editors: Lakeyta Bonnette-Bailey, Georgia State University Cassandra Chaney, Louisiana State University Willie "Pops" Hudson, Azusa Pacific University Javon Johnson, University of Nevada, Las Vegas Elliot Powell, University of Minnesota Books and Media Editor Marcus J. Smalls, Brooklyn Academy of Music (BAM) Conference and Academic Hip Hop Editor Ashley N. Payne, Missouri State University Poetry Editor Jeffrey Coleman, St. Mary's College of Maryland Global Editor Sameena Eidoo, Independent Scholar Copy Editor: Sabine Kim, The University of Mainz Reviewer Board: Edmund Adjapong, Seton Hall University Janee Burkhalter, Saint Joseph's University Rosalyn Davis, Indiana University Kokomo Piper Carter, Arts and Culture Organizer and Hip Hop Activist Todd Craig, Medgar Evers College Aisha Durham, University of South Florida Regina Duthely, University of Puget Sound Leah Gaines, San Jose State University Journal of Hip Hop Studies 2 https://scholarscompass.vcu.edu/jhhs/vol7/iss1/1 2 Halliday and Payne: Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Come Elizabeth Gillman, Florida State University Kyra Guant, University at Albany Tasha Iglesias, University of California, Riverside Andre Johnson, University of Memphis David J. Leonard, Washington State University Heidi R. Lewis, Colorado College Kyle Mays, University of California, Los Angeles Anthony Nocella II, Salt Lake Community College Mich Nyawalo, Shawnee State University RaShelle R. -
Flashback, Flash Forward: Re-Covering the Body and Id-Endtity in the Hip-Hop Experience
FLASHBACK, FLASH FORWARD: RE-COVERING THE BODY AND ID-ENDTITY IN THE HIP-HOP EXPERIENCE Submitted By Danicia R. Williams As part of a Tutorial in Cultural Studies and Communications May 04,2004 Chatham College Pittsburgh, Pennsylvania Tutor: Dr. Prajna Parasher Reader: Ms. Sandy Sterner Reader: Dr. Robert Cooley ACKNOWLEDGEMENTS I would like to thank Dr. Prajna Paramita Parasher, my tutor for her faith, patience and encouragement. Thank you for your friendship. Ms. Sandy Sterner for keeping me on my toes with her wit and humor, and Dr. Cooley for agreeing to serve on my board. Kathy Perrone for encouraging me always, seeing things in me I can only hope to fulfill and helping me to develop my writing. Dr. Anissa Wardi, you and Prajna have changed my life every time I attend your classes. My parent s for giving me life and being so encouraging and trusting in me even though they weren't sure what I was up to. My Godparents, Jerry and Sharon for assisting in the opportunity for me to come to Chatham. All of the tutorial students that came before me and all that will follow. I would like to give thanks for Hip-Hop and Sean Carter/Jay-Z, especially for The Black Album. With each revolution of the CD my motivation to complete this project was renewed. Whitney Brady, for your excitement and brainstorming sessions with me. Peace to Divine Culture for his electricity and Nabri Savior. Thank you both for always being around to talk about and live in Hip-Hop. Thanks to my friends, roommates and coworkers that were generally supportive. -
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. -
Case 1:12-Cv-05384-ALC-RLE Document 363 Filed 09/26/16 Page 1 of 32
Case 1:12-cv-05384-ALC-RLE Document 363 Filed 09/26/16 Page 1 of 32 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK ~---------------------------~~----~~--~----- x DWAYNE D. WALKER, JR., Plaintiff, -against- 12-CV-5384 (ALC) (RLE) SHAWN CARTER ("JAY Z"), DAMON "DAME" DASH, KAREEM "BIGGS" OPINION AND ORDER BURKE, UNIVERSAL MUSIC GROUP, INC. ISLAND DEF JAME MUSIC GROUP, and ROC-A-FELLA RECORDS, LLC, Defendants. --------------------------------------------------------- x ANDREW L. CARTER, JR., United States District Judge: This is a dispute over the creation, ownership, and use of the logo (the "Logo") used by Roe-a-Fella Records, a record label formed by Shawn Carter ("Jay Z"), Damon "Dame" Dash, and Kareem "Biggs" Burke. Plaintiff asserts ownership of the Logo and brings breach of contract and copyright claims against Carter, Dash, and Burke, as well as UMG Recordings, Inc. ("UMG"), Island Def Jam Music Group ("Island Def Jam") and Roe-A-Fella Records, LLC ("RAF LLC") (collectively, the "Corporate Defendants"). 1 Plaintiff casts himself as the creative mastermind of the Logo's design, though he admits that he neither came up with the idea for the Logo nor drew any part of it. Instead, he claims that nearly two decades ago, Dash described the Logo's concept to him, and he then arranged for three other men to draw elements of the Logo, directed their work, and combined the elements into the Logo. He alleges that Defendants owe him royalties for the use of the Logo, under the tenns of a written contract he entered into with Dash; however, Plaintiff claims he has since lost 1 Defendant Burke is pro se and has not appeared in this action to date.