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In addition to being the father of Wu-Tang-affiliated rappers ShaCronz and Free Murda, Popa Wu was also a cousin of the band's de facto leader, RZA, and was related to original members GZA and the late Ol' Dirty Bastard. While never an official member of Wu-Tang Clan, Popa Wu was involved in the group's original formation in the early '90s. Read: Inside An American Hip-Hop Saga: The Wu-Tang Clan Story Enters A New Chapter He was a staunch supporter of the Five-Percent Nation, a cultural movement and an offshoot of the Nation of Islam rooted in 1960s America, and preached its philosophies and beliefs on several Wu-Tang Clan songs. Popa Wu, who also went by Freedum Allah, was largely considered a "spiritual mentor" to Wu-Tang Clan. Wu-Tang member U-God wrote on Twitter, "RIP to the one and only PAPA WU our sincerest condolences go out to the entire family," while DJ/rapper Pete Rock, who's produced for various Wu-Tang members, lamented, "the angels got you." Reports of Popa Wu's death hit the internet earlier this week when various members and associates of Wu-Tang Clan, as well as other artists and representatives from the wider hip-hop community, began posting tributes to him on social media. Chapter five draws together advice for media entrepreneurs interested in locating themselves in this dynamic sector of the media landscape based on the interviews conducted and current meta-journalistic commentary.Details regarding his cause of death have yet to be released, although reports have confirmed he died in his Brooklyn, N.Y., home. This includes notable examples of sites using them. Chapter four synthesizes the revenue models delineated by the case studies to represent the similarities beyond borders. The country by country analysis represents what kind of media environment there is and how the independent journalism has been developing in these environments, what kind of contents these outlets offer and what kind of business models they have. The next chapter presents an overview of the diversified media landscapes and then presents an empirical representation of the cultural and national settings for the nine countries included in the study, along with a summary of the startups. The report is made up of three main chapters. Even countries like Finland and Japan with high newspaper density are facing a rapid shift in the media economy and production. The fundamental stability of the industry as a lucrative business has been drawn into focus. The rapid transition in media markets, which started to intensify in the USA after 2006, has more recently struck other countries.
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The old way of making money is broken and most organisations are facing an unstable economic future, especially for those professional and legacy media in most of the Western countries.
And this new era of entrepreneurialism is not just about Silicon Valley: media entrepreneurs around the world are harnessing new tools, ideas and platforms to flex their muscles and redefine what it means to do journalism. New global actors have emerged as the production, consumption and distribution patterns transform (Wunsh-Wincent 2010). The stranglehold of mass media over production and dissemination is loosening, and media entrepreneurs are increasingly taking up their place in a fragmented media ecology.
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