Always (Blink-182 song)
"Always" is a song by American rock band Blink-182, released on November 1, 2004 as the fourth and final single from the group's fifth studio album, Blink-182. The song was the lowest charting single from the album, but the song's music video received extensive play on music video channels. Like much of the album, the song shows the band's 1980s influences, with the multiple-layered effected guitars and new wave synthesizers; the song can be found on the band's 2005 compilation Greatest Hits. All three of the band members associated the song with the music of the 1980s. Tom DeLonge, in an interview with MTV News, described the song as a "love song."In another interview with MTV News, DeLonge explained the song and addressed the lyrics of the choruses, jokingly: "Always" was written by bassist Mark Hoppus, drummer Travis Barker, guitarist Tom DeLonge, while sung by DeLonge and Hoppus and produced by Jerry Finn. The song is composed in the key of B major and is set in time signature of common time with a tempo of 158 beats per minute.
The vocal range spans from A3 to D7. Referred to as "the'80s song" during production, "Always" features an uptempo backbeat combined with a New Romantic-era keyboard, pulls from new wave influences; the song's outro features four separate bass guitars being played. Barker pulled from Missing Persons for inspiration whilst creating the song's percussion. Journalist Joe Shooman pointed out that the song's central guitar riff is remescient of The Only Ones' "Another Girl, Another Planet", he called it "the thickest-textured Blink track of all-time," and acknowledged its tribute to 1980s synth-driven pop. "Always" was announced as the fourth and final single from Blink-182 in August 2004. "It's gonna change people's lives and might change the world forever," guitarist Tom DeLonge jokingly predicted. It was first serviced to radio in mid-November 2004; the song was only performed twice in its original release, prior to the band’s "indefinite hiatus." It has nonetheless been performed since the band's return.
A. D. Amorosi of The Philadelphia Inquirer, in his 2003 review of Blink-182, called the song "contagious." Consequence of Sound, in a 2015 top 10 of the band's best songs, ranked it as number four, calling it "far and away the best track on the album." The music video for "Always" was directed by Joseph Kahn. The group shot it while on tour in Australia in mid-2004, at the same studio space used by the Wiggles, it features Australian pop singer Sophie Monk. The video is displayed as three horizontal panels, in which Monk flirts with DeLonge and Barker. However, the panels sever the onscreen participants in three. Monk appears as a fractured whole; the trio's characters attempt to plead with Monk, trying to repair a damaged relationship, which are depicted through fights, "the occasional making-up/making-out,", handled by Barker. In reference to the video, DeLonge said "It's like doing an algebraic formulation on paper when you watch it. It's the same kind of feeling but it's rad." Bassist Mark Hoppus called it the most technically complicated video the band had to shoot, as it required choreographed positioning in real time.
The video was photographed by Brad Rushing and edited by David Blackburn who won the MVPA Best Editing Award for his work. The song was a hit on music video channels, where it was among the most-played on Fuse, MTV2 and MuchMusic into January 2005. All tracks written by Blink-182; the two live tracks were broadcast live on The WB's Pepsi Smash concert series. Shooman, Joe. Blink-182: The Bands, The Breakdown & The Return. Independent Music Press. ISBN 978-1-906191-10-8. Official music video on YouTube Lyrics of this song at MetroLyrics
Terry Alan Crews is an American actor, activist and former American football player. Crews played Julius Rock on the UPN/CW sitcom Everybody Hates Chris and Nick Kingston-Persons in the TBS sitcom Are We There Yet? He hosted the game show Who Wants to Be a Millionaire and starred in the BET reality series The Family Crews, he appeared in films such as Friday After Next, White Chicks and the Expendables series. Since 2013, he has played NYPD Sergeant Terry Jeffords in the sitcom Brooklyn Nine-Nine, he is set to host America's Got Talent in 2019, following his involvement in the same role for the program's spin-off series America's Got Talent: The Champions from January 2019. Crews played as a defensive end and linebacker in the National Football League for the Los Angeles Rams, San Diego Chargers, Washington Redskins, as well as in the World League of American Football with Rhein Fire, college football at Western Michigan University. Crews, a public advocate for women's rights and activist against sexism, has shared stories of the abuse his family endured at the hands of his violent father.
He was included among the group of people named as Time Magazine's Person of the Year in 2017 for going public with stories of sexual assault. Terry Alan Crews was born on July 30, 1968 in Flint, the son of Patricia and Terry Crews, he grew up in a strict Christian household in Flint and was raised by his mother. His father was an alcoholic, abusive to his mother. After earning his high school diploma from Flint Southwestern, he received a Chrysler-sponsored art scholarship at the Interlochen Center for the Arts in Interlochen, followed by an Art Excellence scholarship and a full athletic scholarship for football at Western Michigan University in Kalamazoo, Michigan; as a defensive end for the WMU Broncos, Crews earned All-Conference honors and won the 1988 Mid-American Conference Championship. Crews was drafted by the Los Angeles Rams in the 11th round of the 1991 NFL Draft, his career included stints with the Rams, the San Diego Chargers, the Washington Redskins, the Philadelphia Eagles. After retiring from the NFL in 1997, Crews moved to Los Angeles to pursue an acting career.
He had held a long-standing ambition to work in the film industry, but up until had no plans to pursue acting wanting to be involved in some way. A year earlier, he had co-written and co-produced the independent feature film Young Boys Incorporated. A self-funded production filmed in Detroit with an anti-drug message, the film drew on his own observations, as well as those of his friends and family. Despite describing it as a "horrible" film, he credits the experience with getting him interested in the industry. In 1999, Crews auditioned for a role as a character athlete in the syndicated game show Battle Dome, which became his first acting part, he played T-Money for two seasons until its cancellation in 2001. The audition process and the opportunity to perform in front of an audience made him realize that he wanted to pursue acting as a career. However, he failed to land another acting job for the following two years. Appearances in commercials and music videos soon followed, his breakout role came in Friday After Next starring Ice Cube, for whom Crews had worked as on-set security.
Having never taken acting classes, instead he asked himself what the audience wanted, he believes this brought him success. He now believes acting is what he was born to do and would not wish to have any other career, despite the physically demanding nature of the work. Based on his performance in White Chicks, Adam Sandler changed a role in The Longest Yard to give it to Crews, who had auditioned for another part in the film, his role as Julius Rock, the father on the UPN/CW sitcom on Everybody Hates Chris, brought Crews wider public recognition, the show aired for four seasons from 2005 until 2009. Since Everybody Hates Chris, Crews has had main roles as husband and father Nick Kingston-Persons in the TBS sitcom Are We There Yet?, which aired for three seasons from 2010 to 2013, as NYPD Sergeant Terry Jeffords in the ensemble cast of the Fox sitcom Brooklyn Nine-Nine, which premiered in 2013 and ran for five seasons before it was picked up for a sixth season by NBC in 2018. Crews has appeared in comedic roles, such as President Camacho in Idiocracy, but he found success in action roles beginning with his part as Hale Caesar in The Expendables series, which saw him make his first appearance in a film sequel.
Although he has managed to sustain an athletic physique in his career as an actor, Crews has avoided being type-cast as a muscle bound action hero, has attained critical success through exploiting the contrast of his elaborate character comedy with his physique, which extends to the point of mocking the stereotype of the gym obsessed body builder. This contrast has led to sustained work as part of various humorous Old Spice TV commercials. Crews has lent his voice to animations such as American Dad! and Cloudy With a Chance of Meatballs 2. Crews found he enjoyed the work and sought out more of it, finding satisfaction in how it carries his spirit into the animation. In 2010 to 2011, Crews starred in his own reality series on BET, The Family Crews, about his everyday life with his family, it ran for two seasons. From 2014 to 2015, he hosted the syndicated game show, he has been the American host of Netflix's Ultimate Beastmaster. Crews cites the many similarities between acting and professional football, including the structure and expectations, as helping his transition between the two careers.
He credits Reginald Hubbard with mentoring him in h
In the music industry, a single is a type of release a song recording of fewer tracks than an LP record or an album. This can be released for sale to the public in a variety of different formats. In most cases, a single is a song, released separately from an album, although it also appears on an album; these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular. In other cases a recording released. Despite being referred to as a single, singles can include up to as many as three tracks; the biggest digital music distributor, iTunes Store, accepts as many as three tracks less than ten minutes each as a single, as does popular music player Spotify. Any more than three tracks on a musical release or thirty minutes in total running time is either an extended play or, if over six tracks long, an album; when mainstream music was purchased via vinyl records, singles would be released double-sided.
That is to say, they were released with an A-side and B-side, on which two singles would be released, one on each side. Moreover, only the most popular songs from a released album would be released as a single. In more contemporary forms of music consumption, artists release most, if not all, of the tracks on an album as singles; the basic specifications of the music single were set in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercially produced musical recordings. Gramophone discs were manufactured in several sizes. By about 1910, the 10-inch, 78 rpm shellac disc had become the most used format; the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The crude disc-cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, a high rotation speed was necessary to achieve acceptable recording and playback fidelity.
78 rpm was chosen as the standard because of the introduction of the electrically powered, synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm. With these factors applied to the 10-inch format and performers tailored their output to fit the new medium; the 3-minute single remained the standard into the 1960s, when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recorded songs. The breakthrough came with Bob Dylan's "Like a Rolling Stone". Although CBS tried to make the record more "radio friendly" by cutting the performance into halves, separating them between the two sides of the vinyl disc, both Dylan and his fans demanded that the full six-minute take be placed on one side, that radio stations play the song in its entirety; as digital downloading and audio streaming have become more prevalent, it has become possible for every track on an album to be available separately.
The concept of a single for an album has been retained as an identification of a more promoted or more popular song within an album collection. The demand for music downloads skyrocketed after the launch of Apple's iTunes Store in January 2001 and the creation of portable music and digital audio players such as the iPod. In September 1997, with the release of Duran Duran's "Electric Barbarella" for paid downloads, Capitol Records became the first major label to sell a digital single from a well-known artist. Geffen Records released Aerosmith's "Head First" digitally for free. In 2004, Recording Industry Association of America introduced digital single certification due to significant sales of digital formats, with Gwen Stefani's "Hollaback Girl" becoming RIAA's first platinum digital single. In 2013, RIAA incorporated on-demand streams into the digital single certification. Single sales in the United Kingdom reached an all-time low in January 2005, as the popularity of the compact disc was overtaken by the then-unofficial medium of the music download.
Recognizing this, On 17 April 2005, Official UK Singles Chart added the download format to the existing format of physical CD singles. Gnarls Barkley was the first act to reach No.1 on this chart through downloads alone in April 2006, for their debut single "Crazy", released physically the following week. On 1 January 2007 digital downloads became eligible from the point of release, without the need for an accompanying physical. Sales improved in the following years, reaching a record high in 2008 that still proceeded to be overtaken in 2009, 2010 and 2011. Singles have been issued in various formats, including 7-inch, 10-inch, 12-inch vinyl discs. Other, less common, formats include singles on Digital Compact Cassette, DVD, LD, as well as many non-standard sizes of vinyl disc; the most common form of the vinyl single is the 45 or 7-inch. The names are derived from its play speed, 45 rpm, the standard diameter, 7 inches; the 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs.
The first 45
I Miss You (Blink-182 song)
"I Miss You" is a song by American rock band Blink-182, released on February 2, 2004 as the second single from the group's fifth studio album, Blink-182. Co-written by guitarist Tom DeLonge and bassist Mark Hoppus, they employed a method of writing separately and bringing their two verses together later; the song, produced acoustic, features an acoustic electric bass, a cello, a brushstroked drum loop. The song was inspired by The Cure song "The Love Cats" and contains references to The Nightmare Before Christmas; the song peaked at number one on Billboard's Modern Rock Tracks chart and peaked at number 42 on the Billboard Hot 100. Although "All the Small Things" had more radio airplay, "I Miss You" sold more copies, earning gold certification for selling over 500,000 copies. In the United Kingdom, the song was a national top 10 hit on the UK Singles Chart, peaking at number eight. "I Miss You" was recorded throughout 2003, began production at the Rubin's House, a rented home in the San Diego luxury community of Rancho Santa Fe.
The song was written using the same method with which the band wrote "Feeling This". The two would first have a discussion about the themes of the song "so that we were on the same page," and they would go away to write, putting both parts together at the end. "Mark was always really good with words, so a lot of times I would ask him for help with things, to get help with how I say things better But we never explained song meanings to each other," said DeLonge. Hoppus referenced Tim Burton's The Nightmare Before Christmas at the request of Barker, with the lines "We can live like Jack and Sally if we want... and have Halloween on Christmas", toward his then-wife, Shanna Moakler. The trio struggled recording "I Miss You" at first employing a different chorus reminiscent of what they considered adult contemporary music; the track was directly inspired by The Cure song, "The Love Cats". In expanding on the song's lyrical meaning, DeLonge said: "The song's more about the vulnerability and kind of heart-wrenching pain you feel when you're in love and when you're a guy and you're trying to tell a girl,'Don't waste your time coming and talking to me because, in my head at least, you already gave me up a long time ago.'"
The song is composed in the key of B major and is set in time signature of common time with a tempo of 110 beats per minute. DeLonge's vocal range spans from A3 to A5. "I Miss You" is an all-acoustic affair, featuring a piano, acoustic bass guitar, a "brushstroked hip-hop groove." The song's production was layered, requiring multiple tracks. "There's 50 tracks of instruments going on the record," DeLonge said. In an interview with The Washington Post, he re-estimated the amount: "It's got about 70 tracks of instruments, all of which are organic/acoustic, none of them plugged-in." "I Miss You" was sent to radio in early 2004. The song performed best on Billboard's Modern Rock Tracks chart, where it peaked at number one for two weeks; the song charted at number 15 on the Pop Songs chart, number 24 on the Adult Pop Songs chart. On the Billboard Hot 100, the song reached number 42, peaked at number 44 on the Hot 100 Airplay chart. Outside the United States, "I Miss You" performed best in the United New Zealand.
It charted at number 13 in Australia, number 21 in Ireland."I Miss You" was supported by a controversial initiative dubbed "spin buys" by Billboard, in which labels, in Blink's case Geffen, spent thousands of dollars per week to have singles played multiple times from midnight to 6 am at small and middle-market radio chains. While overnight airplay at radio at that time was "nothing new for the recording industry," label-sponsored spin-programs had risen in popularity in 2004. By May 2004, the track had accumulated more than 50,000 spins at radio, more than 100,000 by July; the song was certified gold by the Recording Industry Association of America on October 25, 2004 for sales of over 500,000. "I Miss You" received positive reviews from contemporary music critics. Jesse Lord of IGN praised the "well-thought-out dissonance" between Hoppus and DeLonge's respective vocal tracks, opining that it "expertly showcases and highlights the differences between the two." Nick Catucci of The Village Voice praised the song, writing, "It's how Tom and Mark zing off of one another that makes Blink-182 one of the greats.
Name another two dudes who can so share a tender, swelling ballad like'I Miss You.'" A. D. Amorosi of The Philadelphia Inquirer wrote that "post-teen amour drips through an acoustic'I Miss You', with singer-guitarist Tom DeLonge in Marshall Crenshaw mode." Spin called it an "interstate breakup song," commending its use of strings and jazz brushes. The song's music video is shot in the style of a 1930s film, find the trio performing in a haunted house with ghosts circling around. Jonas Åkerlund, who directed the Prodigy's "Smack My Bitch Up" and Christina Aguilera's "Beautiful," helmed the clip, filmed on December 17, 2003 in Los Angeles. "He's done amazing videos," DeLonge said. "We kind of had an idea of what we wanted to do, but it's gonna be interesting because with a guy like that, they bring so much artistic vision to the project. You don't know what's going on in their head, like how they wanna film it and all that stuff." It features Mark Hoppus playing a double bass, inspired by Phil Thornalley of The Cure's use of one in the video for "The Love Cats".
The song achieved heavy airplay on music video channels. It achieved its best airplay on Canada's MuchMusic, where it was t
YouTube is an American video-sharing website headquartered in San Bruno, California. Three former PayPal employees—Chad Hurley, Steve Chen, Jawed Karim—created the service in February 2005. Google bought the site in November 2006 for US$1.65 billion. YouTube allows users to upload, rate, add to playlists, comment on videos, subscribe to other users, it offers a wide variety of corporate media videos. Available content includes video clips, TV show clips, music videos and documentary films, audio recordings, movie trailers, live streams, other content such as video blogging, short original videos, educational videos. Most of the content on YouTube is uploaded by individuals, but media corporations including CBS, the BBC, Hulu offer some of their material via YouTube as part of the YouTube partnership program. Unregistered users can only watch videos on the site, while registered users are permitted to upload an unlimited number of videos and add comments to videos. Videos deemed inappropriate are available only to registered users affirming themselves to be at least 18 years old.
YouTube and its creators earn advertising revenue from Google AdSense, a program which targets ads according to site content and audience. The vast majority of its videos are free to view, but there are exceptions, including subscription-based premium channels, film rentals, as well as YouTube Music and YouTube Premium, subscription services offering premium and ad-free music streaming, ad-free access to all content, including exclusive content commissioned from notable personalities; as of February 2017, there were more than 400 hours of content uploaded to YouTube each minute, one billion hours of content being watched on YouTube every day. As of August 2018, the website is ranked as the second-most popular site in the world, according to Alexa Internet. YouTube has faced criticism over aspects of its operations, including its handling of copyrighted content contained within uploaded videos, its recommendation algorithms perpetuating videos that promote conspiracy theories and falsehoods, hosting videos ostensibly targeting children but containing violent and/or sexually suggestive content involving popular characters, videos of minors attracting pedophilic activities in their comment sections, fluctuating policies on the types of content, eligible to be monetized with advertising.
YouTube was founded by Chad Hurley, Steve Chen, Jawed Karim, who were all early employees of PayPal. Hurley had studied design at Indiana University of Pennsylvania, Chen and Karim studied computer science together at the University of Illinois at Urbana–Champaign. According to a story, repeated in the media and Chen developed the idea for YouTube during the early months of 2005, after they had experienced difficulty sharing videos, shot at a dinner party at Chen's apartment in San Francisco. Karim did not attend the party and denied that it had occurred, but Chen commented that the idea that YouTube was founded after a dinner party "was very strengthened by marketing ideas around creating a story, digestible". Karim said the inspiration for YouTube first came from Janet Jackson's role in the 2004 Super Bowl incident, when her breast was exposed during her performance, from the 2004 Indian Ocean tsunami. Karim could not find video clips of either event online, which led to the idea of a video sharing site.
Hurley and Chen said that the original idea for YouTube was a video version of an online dating service, had been influenced by the website Hot or Not. Difficulty in finding enough dating videos led to a change of plans, with the site's founders deciding to accept uploads of any type of video. YouTube began as a venture capital-funded technology startup from an $11.5 million investment by Sequoia Capital and an $8 million investment from Artis Capital Management between November 2005 and April 2006. YouTube's early headquarters were situated above a pizzeria and Japanese restaurant in San Mateo, California; the domain name www.youtube.com was activated on February 14, 2005, the website was developed over the subsequent months. The first YouTube video, titled Me at the zoo, shows co-founder Jawed Karim at the San Diego Zoo; the video was uploaded on April 23, 2005, can still be viewed on the site. YouTube offered the public a beta test of the site in May 2005; the first video to reach one million views was a Nike advertisement featuring Ronaldinho in November 2005.
Following a $3.5 million investment from Sequoia Capital in November, the site launched on December 15, 2005, by which time the site was receiving 8 million views a day. The site grew and, in July 2006, the company announced that more than 65,000 new videos were being uploaded every day, that the site was receiving 100 million video views per day. According to data published by market research company comScore, YouTube is the dominant provider of online video in the United States, with a market share of around 43% and more than 14 billion views of videos in May 2010. In May 2011, 48 hours of new videos were uploaded to the site every minute, which increased to 60 hours every minute in January 2012, 100 hours every minute in May 2013, 300 hours every minute in November 2014, 400 hours every minute in February 2017; as of January 2012, the site had 800 million unique users a month. It is estimated that in 2007 YouTube consumed as much bandwidth as the entire Internet in 2000. According to third-party web analytics providers and SimilarWeb, YouTube is the second-most visited website in the world, as of December 2016.
South Los Angeles
South Los Angeles is a region in southern Los Angeles County and lies within the city limits of Los Angeles, just south of downtown. According to the Los Angeles Times, South Los Angeles ”is defined on Los Angeles city maps as a 16-square-mile rectangle with two prongs at the south end.” In 2003, the Los Angeles City Council renamed this area "South Los Angeles". The name South Los Angeles can refer to a larger 51-square mile area that includes areas within the city limits of Los Angeles as well as five unicorporated neighborhoods in the southern portion of the County of Los Angeles; the City of Los Angeles delineates South Los Angeles as an area of 15.5 square miles. Adjacent neighborhoods include West Adams, Baldwin Hills, Leimert Park to the west and the Southeast Los Angeles region of the city on the east. According to the Los Angeles Times Mapping Project, South Los Angeles comprises 51 square miles, consisting of 25 neighborhoods within the City of Los Angeles as well as three unincorporated neighborhoods in the County of Los Angeles.
Google Maps delineates a similar area to the Los Angeles Times Mapping Project with notable differences on the western border. On the northwest, it omits a section of Los Angeles west of La Brea Avenue. On the southwest, it includes a section of the City of Inglewood north of Century Boulevard. According to the Mapping L. A. survey of the Los Angeles Times, the South Los Angeles region consists of the following neighborhoods: In 1880, the University of Southern California, in 1920, the Doheny Campus of Mount St. Mary's College, were founded in South Los Angeles; the 1932 and 1984 Olympic Games took place near the USC campus at neighboring Exposition Park, where the Los Angeles Coliseum is located. Until the 1920s, the South Los Angeles neighborhood of West Adams was one of the most desirable areas of the City; as the wealthy were building stately mansions in West Adams and Jefferson Park, the white working class was establishing itself in Crenshaw and Hyde Park. Affluent blacks moved into West Adams and Jefferson Park.
As construction along the Wilshire Boulevard corridor increased in the 1920s, the development of the city was drawn west of downtown and away from South Los Angeles. At the same time, the area of modest bungalows and low-rise commercial buildings along Central Avenue emerged as the heart of the black community in southern California, it had one of the first jazz scenes in the western U. S. with trombonist Kid Ory a prominent resident. Under racially restrictive covenants, blacks were allowed to own property only within the Main-Slauson-Alameda-Washington box and in Watts, as well as in small enclaves elsewhere in the city; the working- and middle-class blacks who poured into Los Angeles during the Great Depression and in search of jobs during World War II found themselves penned into what was becoming a overcrowded neighborhood. During the war, blacks faced such dire housing shortages that the Housing Authority of the City of Los Angeles built the all-black and Latino Pueblo Del Rio project, designed by Richard Neutra.
When the Supreme Court banned the legal enforcement of race-oriented restrictive covenants in 1948's Shelley v. Kraemer, blacks began to move into areas outside the overcrowded Slauson-Alameda-Washington-Main settlement area. For a time in the early 1950s, southern Los Angeles became the site of significant racial violence, with whites bombing, firing into, burning crosses on the lawns of homes purchased by black families south of Slauson. In an escalation of behavior that began in the 1920s, white gangs in nearby cities such as South Gate and Huntington Park accosted blacks who traveled through white areas; the black mutual protection clubs that formed in response to these assaults became the basis of the region's fearsome street gangs. As in most urban areas, 1950s freeway construction radically altered the geography of southern Los Angeles. Freeway routes tended to reinforce traditional segregation lines. Beginning in the 1970s, the rapid decline of the area's manufacturing base resulted in a loss of the jobs that had allowed skilled union workers to have a middle class life.
Downtown Los Angeles' service sector, which had long been dominated by unionized African Americans earning high wages, replaced most black workers with newly arrived Mexican and Central American immigrants. Widespread unemployment and street crime contributed to the rise of street gangs in South Central, such as the Crips and Bloods, they became more powerful with money from drugs the crack cocaine trade, dominated by gangs in the 1980s. By the early 2000s, the crime rate of South Los Angeles had declined significantly. Redevelopment, improved police patrol, community-based peace programs, gang intervention work, youth development organizations lowered the murder and crime rates to levels that had not been seen since the 1940s and'50s. South Los Angeles was still known for its gangs at the time. In mid 2003, the City of Los Angeles changed the region's name from South Central to South Los Angeles, a move supporters said would "help erase a stigma that has dogged the southern part of the city."On August 11, 2014, just two days after the shooting of Michael Brown in Ferguson, Missouri, a resident of South L.
A. Ezell Ford, described as "a mentally ill 25-year-old man," was fatally shot by two Los Angeles police officers. Since a number of protests focused on events in Ferguson have taken place in South Los Angeles. After the 2008 economic recession, housing prices in South Los Angeles recovered and by 2018, many had come to see South Los Angeles as a
James Guthrie (record producer)
James K. A. Guthrie is an English recording engineer and record producer best known for his work with the progressive rock band Pink Floyd, serving as a producer and engineer for the band since 1978, he is the operator of das boot recording in Lake Tahoe, California. Guthrie began his career on 1 October 1973 at Mayfair Studios in London, as a trainee tape operator and assistant engineer trained by studio owner John Hudson. A year he moved to Audio International studios, working under Richard Millard, his earliest credits are as an assistant engineer on the first two albums by glam rock singer Alvin Stardust. During this time he first worked with Greg Walsh, whom Guthrie asked to join his FOH production team for the live performances of Pink Floyd's The Wall in 1980 and 1981. By 1976 Guthrie was employed as one of the engineering team at Utopia Studios which included John Mackswith and Ian Cooper. During his tenure he worked as the engineer on The Bay City Rollers' Wouldn't You Like It? release, for producer Barry Blue on Breakout by The Dead End Kids as well as the first two albums for London-based R&B band Heatwave, which would yield the hit singles "Boogie Nights", "Always and Forever" and "The Groove Line".
Utopia was where he first worked with Andy Jackson, whom Guthrie introduced to Pink Floyd and was hired as the band's primary engineer. In addition, Guthrie is credited with suggesting Jon Carin as a keyboard player for Roger Waters' touring band, arranged for Kashmir lead vocalist and guitarist Kasper Eistrup to audition for the same tour, as well as introducing vocalist Rachel Brennock to Pink Floyd, she joined the touring band from 1987 to 1989. Guthrie worked at other London-area studios such as The Manor and Britannia Row, his initial producer credits would be for Fury. Guthrie's connection with GTO Records landed him engineering and production duties on the second and third albums for The Movies. After producing the Judas Priest track "Better By You, Better Than Me" for the album Stained Class, he was selected to produce their follow-up album Hell Bent For Leather. By 1980, Guthrie's body of work in regards to engineering and production would include a total of six hit singles on both the British and American charts: the first three singles from Heatwave, Marshall Hain's "Dancing in the City", Pink Floyd's "Another Brick in the Wall" and The Pointer Sisters' "He's So Shy".
In mid-1978, Guthrie received a request from Pink Floyd's manager, Steve O'Rourke, to meet with him regarding potential production projects. First was a pitch to produce singer/songwriter Tom Robinson; the other was for Pink Floyd, about to embark on their new project, a concept album, titled The Wall. Based on his previous production credits and after meeting with Guthrie, Roger Waters believed he would be a good fit. Guthrie accepted the assignment with the request that he would be allowed to engineer the record himself. Guthrie was the only member of the production team to be awarded by NARAS for his contributions, receiving the 1980 Grammy award for Best Engineered Recording, Non-Classical. A case can be made for Guthrie's involvement as an important element of the timeless sound Pink Floyd was able to achieve with The Wall. David Gilmour stated in a March 2000 interview with Record Collector, regarding the contributors, "Another crucial figure is James Guthrie; the album's wonderfully clear and punchy, modern-sounding."
Nick Mason acknowledged Guthrie's contribution in regards to the drum sound in an interview with TapeOp magazine: "James Guthrie was great on The Wall – I thought he did a great job." Guthrie's initial involvement with Pink Floyd was to last nearly five years. Guthrie received a British Academy of Film and Television Arts award for Best Film Sound in 1982 for his work on the film, he was asked to co-produce The Final Cut, the last release of Waters-era Pink Floyd. According to Andy Jackson, who served as engineer for the recording along with Guthrie, the use of the name "Max" in the songs "Th