In the background and foreground, the fire-damaged remnants of a home such as a TV set, fur coats and a stereo system are scattered across the landscape. During the chorus Dawn Richard and Kalenna Harper take place in front of the camera, walking behind Diddy miming Grey's words. Later in the clip, during the second verse, Diddy sits in a burned out building singing to himself. Outside, a burned out vehicle is parked. Then during the song's bridge , red smoke surrounds Diddy as the helicopter, from the opening scene, comes to land.
However, this time Richard and Harper are seated inside waiting for Diddy. As the song fades, the helicopter flies over the desert toward the horizon. Staff from E! Online seemed impressed with the video's concept and choice of background scenery. They said "what better place for some introspection than the desert, right? No sexy bikini-clad ladies or blue-haired Nicki Minajs to distract you, and when you're done, just call up the helicopter to pick you up Pro tip: Hang your leg outside of the chopper for extra cool points.
However Easton was annoyed with the number of videos being released and said that fans were waiting for the actual album to be released. For the performance the group were joined on stage by a full orchestra, with Diddy dressed in all-black but the other half of the group dressed in white gowns.
First Diddy appeared on daytime chatshow, The View , for an interview and was then joined by Richard and Harper to perform "Coming Home"  then later the trio performed on the Late Show with David Letterman. There is also a friendly version of the song recorded by the cast of Nickelodeon 's popular TV show iCarly , which can be heard on the show's second soundtrack, entitled iSoundtrack II. On December 4, , The Fast and the Furious team released a tribute video to Paul Walker after the actor's untimely death, which contained excerpts from Coming Home.
On December 30, , newly hired Michigan Wolverines head football coach Jim Harbaugh was introduced to the public during a brief halftime ceremony with the song playing as he walked onto center court. From Wikipedia, the free encyclopedia.
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He now calls himself Love, a word that is everything to him: a sensation, a hashtag, a vibe, and the name of his nebulous club. But the Diddy of had a much more cynical view of love. His fifth studio album, Last Train to Paris , released that December, tells the story of a romance doomed by distance. Combs is the jilted protagonist who envisions love as a vast, deceptive, often unattainable warmth. His interviews, accordingly, blurred the lines between commerce and genuine introspection on the subject.
What Combs did was more intentional: he took these intersecting trends and packaged them into a savvy collaborative effort. With Paris , he made a convenient, prophetic statement, embracing his love scars just as a new generation of rappers began pouring their resentments about relationships onto songs. Grief is a familiar, tragic part of the Diddy brand. The No. All the while, the world saw him not as an artist foremost but as a rapping executive with a capable squad of ghostwriters.
But going from a mogul sidekick to the main character meant his artistry had to grow in real-time. Paris is organized behind a higher concept, but like his previous work, it still functions as a compilation where Diddy is the greatest showman. As good artistry does, though, Paris wound up telegraphing a shift in the air of hip-hop. His raps are distractingly simple across the album, leaving space for Richard and Harper to be the true stars. Their more indulgent textures add dimension to the songwriting and overshadow Combs by design.
On songs where Combs is a shadow, his collaborators—in this case, a suite of 19 other producers and 17 artists ranging from Grace Jones to Rick Ross —step in to effectively mirror his ennui. Not really, but it seems the more misery, the better. Like West did with s , Diddy saw Auto-Tune as the perfect tool to capture and transmit his cold despair.
There is a vibrancy to the atmosphere of Paris that seems to refract its cynicism. The effect is cool and industrial, with whirs and buzzes paced at the speed of a treadmill sprint. A sense of loss looms over Paris , a place where love is clearly for sale. The bluster of it all threatens to extract you from the experience.
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Dirty Money was a musical duo consisting of singer-songwriters and dancers Dawn Richard and Kalenna Harper in ; both artists having been signed to Bad Boy Entertainment. Dirty Money was a musical duo consisting of singer-songwriters and dancers Dawn Richard ; According to Combs, Diddy-Dirty Money was "a look, a sound, a movement. "Coming Home" is a song by the rapper and producer Diddy and his group Dirty Money, from their debut album Last Train to Paris ().