A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Geraldo Rivera is an American tabloid talk show host, reporter and author. He was the host of the talk show Geraldo from 1987 to 1998. Rivera hosted the newsmagazine program Geraldo at Large, hosts the occasional broadcast of Geraldo Rivera Reports, appears on Fox News programs such as The Five. Rivera was born at Beth Israel Medical Center in New York City, New York, the son of Lillian and Cruz "Allen" Rivera, a restaurant worker and cab driver respectively. Rivera's father was a Puerto Rican Catholic, his mother was of Russian Jewish descent, he had a Bar Mitzvah ceremony. He grew up in New York, where he attended West Babylon High School. Rivera's family was sometimes subjected to prejudice and racism, his mother took to spelling their surname as "Riviera" to avoid having bigotry directed at them; when I was born, my mother filled in my birth certificate with the name Gerald Riviera, adding an extra "i" to my father's surname. She did the same thing for my sister Irene, she would drop the pretense for my sister Sharon, only to pick it up again with the birth of my baby brother Craig.
Whenever we asked about the inconsistencies, she would joke her way out of it. "I just forgot how to spell it," she would say, leave it at that. Underneath, I came to realize, she was embarrassed over what was a clumsy attempt at an ethnic cover-up. From September 1961 to May 1963, he attended the State University of New York Maritime College, where he was a member of the rowing team. In 1965, Rivera graduated from the University of Arizona with a B. S. in business administration. Following a series of jobs ranging from clothing salesman to short-order cook, Rivera enrolled at Brooklyn Law School in 1966; as a law student, he held internships with the New York County District Attorney under legendary crime-fighter Frank Hogan and Harlem Assertion of Rights before receiving his J. D. near the top of his class in 1969. He held a Reginald Heber Smith Fellowship in poverty law at the University of Pennsylvania Law School in the summer of 1969 before being admitted to the New York State Bar that year.
After working with such organizations as the lower Manhattan-based Community Action for Legal Services and the National Lawyers Guild, Rivera became a frequent attorney for the Puerto Rican activist group, the Young Lords precipitating his entry into private practice. This work attracted the attention of WABC-TV news director Al Primo when Rivera was interviewed about the group's occupation of an East Harlem church in 1969. Primo offered Rivera a job as a reporter but was unhappy with the first name "Gerald" so they agreed to go with the pronunciation used by the Puerto Rican side of Rivera's family: Geraldo. Due to his dearth of journalistic experience, ABC arranged for Rivera to study introductory broadcast journalism under Fred Friendly in the Ford Foundation-funded Summer Program in Journalism for Members of Minority Groups at the Columbia University Graduate School of Journalism in 1970. Rivera was hired by WABC-TV in 1970 as a reporter for Eyewitness News. In 1972, he garnered national attention and won a Peabody Award for his report on the neglect and abuse of patients with intellectual disabilities at Staten Island's Willowbrook State School, he began to appear on ABC national programs such as 20/20 and Nightline upon their launches in 1978 and 1979 respectively.
After John Lennon watched Rivera's report on the patients at Willowbrook, he and Rivera put on a benefit concert called "One to One" on August 30, 1972, at Madison Square Garden in New York City. Around this time, Rivera began hosting ABC's Good Night America, a late night newsmagazine which aired as part of the ABC's Wide World of Entertainment program block; the show featured the famous refrain from Arlo Guthrie's hit "City of New Orleans" as the theme. Good Night America tackled controversial topics of the era, including marijuana usage and the status of Vietnam War draft dodgers. A 1975 episode of the program, featuring Dick Gregory and Robert J. Groden, showed the first national telecast of the historic Zapruder film. On May 19, 1983, Rivera broadcast the first U. S. network television mention of AIDS, interviewing on 20/20 New York City lighting designer Ken Ramsauer. Ramsauer died aged 27, four days later. In October 1987, ABC's Roone Arledge refused to air a report done by Sylvia Chase for 20/20 on the relationship between Marilyn Monroe and John and Robert Kennedy.
Rivera publicly criticized Arledge's journalistic integrity, claiming that his friendship with the Kennedy family had caused him to spike the story. During a Fox News interview with Megyn Kelly aired May 15, 2015, Rivera stated the official reason given for the firing was that he violated ABC policy when he donated $200 to a non-partisan mayoral race candidate. On April 21, 1986, Rivera hosted The Mystery of Al Capone's Vaults; the special broadcast was billed as the unearthing of Capone's secret vaults located under the old Lexington Hotel in Chicago. Millions of people watched the 2-hour show, but all that they uncovered was di
Los Angeles Times
The Los Angeles Times is a daily newspaper, published in Los Angeles, since 1881. It has the fourth-largest circulation among United States newspapers, is the largest U. S. newspaper not headquartered on the East Coast. The paper is known for its coverage of issues salient to the U. S. West Coast, such as immigration trends and natural disasters, it has won more than 40 Pulitzer Prizes for its coverage of other issues. As of June 18, 2018, ownership of the paper is controlled by Patrick Soon-Shiong, the executive editor is Norman Pearlstine. In the nineteenth century, the paper was known for its civic boosterism and opposition to unions, the latter of which led to the bombing of its headquarters in 1910; the paper's profile grew in the 1960s under publisher Otis Chandler, who adopted a more national focus. In recent decades, the paper's readership has declined and it has been beset by a series of ownership changes, staff reductions, other controversies. In January 2018, the paper's staff voted to unionize, in July 2018 the paper moved out of its historic downtown headquarters to a facility near Los Angeles International Airport.
The Times was first published on December 4, 1881, as the Los Angeles Daily Times under the direction of Nathan Cole Jr. and Thomas Gardiner. It was first printed at the Mirror printing plant, owned by Jesse Yarnell and T. J. Caystile. Unable to pay the printing bill and Gardiner turned the paper over to the Mirror Company. In the meantime, S. J. Mathes had joined the firm, it was at his insistence that the Times continued publication. In July 1882, Harrison Gray Otis moved from Santa Barbara to become the paper's editor. Otis made the Times a financial success. Historian Kevin Starr wrote that Otis was a businessman "capable of manipulating the entire apparatus of politics and public opinion for his own enrichment". Otis's editorial policy was based on civic boosterism, extolling the virtues of Los Angeles and promoting its growth. Toward those ends, the paper supported efforts to expand the city's water supply by acquiring the rights to the water supply of the distant Owens Valley; the efforts of the Times to fight local unions led to the October 1, 1910 bombing of its headquarters, killing twenty-one people.
Two union leaders and Joseph McNamara, were charged. The American Federation of Labor hired noted trial attorney Clarence Darrow to represent the brothers, who pleaded guilty. Otis fastened a bronze eagle on top of a high frieze of the new Times headquarters building designed by Gordon Kaufmann, proclaiming anew the credo written by his wife, Eliza: "Stand Fast, Stand Firm, Stand Sure, Stand True." Upon Otis's death in 1917, his son-in-law, Harry Chandler, took control as publisher of the Times. Harry Chandler was succeeded in 1944 by his son, Norman Chandler, who ran the paper during the rapid growth of post-war Los Angeles. Norman's wife, Dorothy Buffum Chandler, became active in civic affairs and led the effort to build the Los Angeles Music Center, whose main concert hall was named the Dorothy Chandler Pavilion in her honor. Family members are buried at the Hollywood Forever Cemetery near Paramount Studios; the site includes a memorial to the Times Building bombing victims. The fourth generation of family publishers, Otis Chandler, held that position from 1960 to 1980.
Otis Chandler sought legitimacy and recognition for his family's paper forgotten in the power centers of the Northeastern United States due to its geographic and cultural distance. He sought to remake the paper in the model of the nation's most respected newspapers, notably The New York Times and The Washington Post. Believing that the newsroom was "the heartbeat of the business", Otis Chandler increased the size and pay of the reporting staff and expanded its national and international reporting. In 1962, the paper joined with The Washington Post to form the Los Angeles Times–Washington Post News Service to syndicate articles from both papers for other news organizations, he toned down the unyielding conservatism that had characterized the paper over the years, adopting a much more centrist editorial stance. During the 1960s, the paper won four Pulitzer Prizes, more than its previous nine decades combined. Writing in 2013 about the pattern of newspaper ownership by founding families, Times reporter Michael Hiltzik said that: The first generations bought or founded their local paper for profits and social and political influence.
Their children enjoyed both profits and influence, but as the families grew larger, the generations found that only one or two branches got the power, everyone else got a share of the money. The coupon-clipping branches realized that they could make more money investing in something other than newspapers. Under their pressure the companies split apart, or disappeared. That's the pattern followed over more than a century by the Los Angeles Times under the Chandler family; the paper's early history and subsequent transformation was chronicled in an unauthorized history Thinking Big, was one of four organizations profiled by David Halberstam in The Powers That Be. It has been the whole or partial subject of nearly thirty dissertations in communications or social science in the past four decades; the Los Angeles Times began a decline with Los Angeles itself with the decline in military production at the end of the Cold War. It faced hiring freezes in 1991-1992. Another major decision at the same time was to cut the range of circulation.
They cut circulation in California's Central Valley, Nevada and the San Diego ed
The Daily Express is a daily national middle-market tabloid newspaper in the United Kingdom. It is the flagship of a subsidiary of Northern & Shell, it was first published as a broadsheet in 1900 by Sir Arthur Pearson. Its sister paper, the Sunday Express, was launched in 1918. In February 2019, it had an average daily circulation of 315,142; the paper was acquired by Richard Desmond in 2000. Hugh Whittow was the editor from February 2011 until he retired in March 2018. Gary Jones took over as editor-in-chief in March 2018; the paper's editorial stances have been seen as aligned to the UK Independence Party and other right-wing factions including the right-wing of the Conservative Party. On 9 February 2018, Trinity Mirror said it would acquire the Daily Express' parent company and Shell Media, in a deal worth £126.7m. In addition to its sister paper, Express Newspapers publishes the red top newspapers the Daily Star and Daily Star Sunday; the Daily Express was founded in 1900 by Sir Arthur Pearson, with the first issue appearing on 24 April 1900.
Pearson, who had lost his sight to glaucoma in 1913, sold the title to the future Lord Beaverbrook in 1916. It was one of the first papers to place news instead of advertisements on its front page, carried gossip and women's features, it was the first in Britain to have a crossword puzzle. The Express began printing in Manchester in 1927. In 1931 it moved to 120 a specially commissioned art deco building. Under Beaverbrook, the paper set, its success was due to aggressive marketing campaign and a circulation war with other populist newspapers. Arthur Christiansen became editor in October 1933. Under his direction sales climbed from two million in 1936 to four million in 1949, he retired in 1957. The paper featured Alfred Bestall's Rupert Bear cartoon and satirical cartoons by Carl Giles which it began publishing in the 1940s. On 24 March 1933, "Judea Declares War on Germany", was published. During the late 1930s, the paper advocated the appeasement policies of the Chamberlain government, due to the influence of Lord Beaverbrook.
The ruralist author Henry Williamson wrote for the paper on many occasions for half a century the whole of his career. He wrote for the Sunday Express at the beginning of his career. In 1938, the publication moved to the Daily Express Building, Manchester designed by Owen Williams on the same site in Great Ancoats Street, it opened a similar building in Glasgow in 1936 in Albion Street. Glasgow printing ended in Manchester in 1989 on the company's own presses. Johnston Press has a five-year deal, begun in March 2015, to print the northern editions of the Daily Express, Daily Star, Sunday Express and the Daily Star Sunday at its Dinnington site in Sheffield; the Scottish edition is printed by facsimile in Glasgow by contract printers, the London editions at Westferry Printers. In March 1962, Beaverbrook was attacked in the House of Commons for running "a sustained vendetta" against the British Royal Family in the Express titles. In the same month, the Duke of Edinburgh described the Express as "a bloody awful newspaper.
It is full of lies and imagination. It is a vicious paper." At the height of Beaverbrook's control, in 1948, he told a Royal Commission on the press that he ran his papers "purely for the purpose of making propaganda". The arrival of television, the public's changing interests, took their toll on circulation, following Beaverbrook's death in 1964, the paper's circulation declined for several years. During this period, the Express alone among mainstream newspapers, was vehemently opposed to entry into what became the European Economic Community; as a result of the rejuvenation of the Daily Mail under David English and the emergence of The Sun under Rupert Murdoch and editorship of Larry Lamb, average daily sales of the Express dropped below four million in 1967, below three million in 1975, below two million in 1984. The Daily Express switched from broadsheet to tabloid in 1977, was bought by the construction company Trafalgar House in the same year, its publishing company, Beaverbrook Newspapers, was renamed Express Newspapers.
In 1982, Trafalgar House spun off its publishing interests to a new company, Fleet Holdings, under Lord Matthews, but this succumbed to a hostile takeover by United Newspapers in 1985. Under United, the Express titles moved from Fleet Street to Blackfriars Road in 1989. Express Newspapers was sold to publisher Richard Desmond in 2000, the names of the newspapers reverted to Daily Express and Sunday Express. In 2004, the newspaper moved to its present location on Lower Thames Street in the City of London. On 31 October 2005, UK Media Group Entertainment Rights secured majority interest from the Daily Express for Rupert Bear, they paid £6 million for a 66.6% control of the character. The Express retains minority interest of one-third plus the right to publish Rupert Bear stories in certain Express publications. In 2000, Express Newspapers was bought by Richard Desmond, publisher of celebrity magazine OK!, for £125 million. Controversy surrounded the deal since Desmond owned softcore pornography magazines.
As a result, many staff left, including columnist Peter Hitchens. Hitchens moved to The Mail on Sunday, saying working for the new owner was a moral conflict of interest since he had always attacked the pornographic magazines that Desmond published. Despite their divergent politics, Desmond respected Hitchens. In 2007, Express Newspape
Contemporary R&B is a music genre that combines elements of rhythm and blues, soul, hip hop and electronic music. The genre features a distinctive record production style, drum machine-backed rhythms, pitch corrected vocals, a smooth, lush style of vocal arrangement. Electronic influences are becoming an increasing trend and the use of hip hop or dance-inspired beats are typical, although the roughness and grit inherent in hip hop may be reduced and smoothed out. Contemporary R&B vocalists are known for their use of melisma, popularized by vocalists such as Michael Jackson, R. Kelly, Craig David, Stevie Wonder, Whitney Houston and Mariah Carey. Contemporary R&B originated at the end of the disco era, in the late-1970s, when Michael Jackson and Quincy Jones added more electronic elements to the sound of the time to create a smoother dancefloor-friendly sound; the first result was Off the Wall, which—according to Stephen Thomas Erlewine from AllMusic—"was a visionary album, that found a way to break disco wide open into a new world where the beat was undeniable, but not the primary focus" and "was part of a colorful tapestry of lush ballads and strings, smooth soul and pop, soft rock, alluring funk".
Richard J. Ripani wrote that Janet Jackson's Control was "important to the development of R&B for a number of reasons", as she and her producers, Jimmy Jam and Terry Lewis, "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, sound effects, a rap music sensibility." Ripani wrote that "the success of Control led to the incorporation of stylistic traits of rap over the next few years, Janet Jackson was to continue to be one of the leaders in that development." That same year, Teddy Riley began. This combination of R&B style and hip hop rhythms was termed new jack swing and was applied to artists such as Michael Jackson, Bobby Brown, Keith Sweat, Al B. Sure!, Guy and Bell Biv DeVoe. In contrast to the works of Boyz II Men and similar artists, other R&B artists and groups from this same period began adding more of a hip-hop sound to their work, like the innovative group Jodeci; the synthesizer-heavy rhythm tracks of new jack swing were replaced by grittier East Coast hip hop-inspired backing tracks, resulting in a genre labeled hip hop soul by Mary J. Blige and producer Sean Combs who had mentored group Jodeci in the beginning and helped them with their unique look.
The style became less popular by the end of the 1990s, but experienced a resurgence. In 1990, Mariah Carey released Vision of Love, it was immensely popular peaking at number 1 in many worldwide charts including the Billboard Hot 100, it propelled Mariah's career. The song is said to have popularized the use of melisma and brought it in to mainstream R&B. During the mid-1990s, Whitney Houston's The Bodyguard: Original Soundtrack Album sold over 40 million copies worldwide becoming the best-selling soundtrack of all time. Janet Jackson's self-titled fifth studio album janet. which came after her historic multimillion-dollar contract with Virgin Records, sold over twenty million copies worldwide. Boyz II Men and Mariah Carey recorded several Billboard Hot 100 No. 1 hits, including "One Sweet Day", a collaboration between both acts, which became the longest-running No. 1 hit in Hot 100 history. Carey released a remix of her 1995 single "Fantasy", with Ol' Dirty Bastard as a feature, a collaboration format, unheard of at this point.
Carey, Boyz II Men and TLC released albums in 1994 and 1995 -- II and CrazySexyCool. In the late 1990s, neo soul, which added 1970s soul influences to the hip hop soul blend, led by artists such as D'Angelo, Erykah Badu, Lauryn Hill and Maxwell. Hill and Missy Elliott further blurred the line between hip hop by recording both styles. Beginning in 1995, the Grammy Awards enacted the Grammy Award for Best R&B Album, with II by Boyz II Men becoming the first recipient; the award was received by TLC for CrazySexyCool in 1996, Tony Rich for Words in 1997, Erykah Badu for Baduizm in 1998 and Lauryn Hill for The Miseducation of Lauryn Hill in 1999. At the end of 1999, Billboard magazine ranked Mariah Carey and Janet Jackson as the first and second most successful artists of the 1990s. In the second half of the 1990s, The Neptunes and Timbaland set influential precedence on contemporary R&B and hip hop music. R&B acts such as Michael Jackson, Whitney Houston, Janet Jackson, Mariah Carey and Toni Braxton are some of the best-selling music artists of all time.
Following periods of fluctuating success, urban music attained commercial dominance during the early 2000s, which featured massive crossover success on the Billboard charts by R&B and hip hop artists. In 2001, Alicia Keys released "Fallin"', it peaking at number one on the Billboard Hot 100, Mainstream Top 40 and Hot R&B/Hip-Hop Songs charts. It won three Grammy Awards in 2002, including Song of the Year, Best R&B Song, Best Female R&B Vocal Performance, it was nominated for Record of the Year. Beyoncé's solo studio debut album Dangerously in Love has sold over 5 million copies in the United States and earned five Grammy Awards. Usher's Confessions sold 1.1 million copies in its first week and over 8 million copies in 2004, since it has been certified Diamond by the Recording Industry Association of America and, as of 2016, has sold over 10 million copies in the US and over 20 million copies worldwide. Confessions had four consecutive Billboard Hot 100 number one singles—"Yeah!", "Burn", "Confessions Part II" and "My Boo".
In 2004, all 12 songs that topped Billboard Hot 100 were
They Don't Care About Us
"They Don't Care About Us" is the fifth single from Michael Jackson's album HIStory: Past and Future, Book I, released on March 31, 1996. The song remains one of the most controversial pieces Jackson composed. In the US, media scrutiny surrounding allegations of antisemitic lyrics were the catalyst for Jackson issuing multiple apologies and re-recording the song with altered lyrics; the singer countered allegations of antisemitism, arguing that reviews had misinterpreted the context of the song, either unintentionally or deliberately. The song was accompanied by two music videos directed by Spike Lee; the first was shot in two locations in Brazil, in Pelourinho, the historic city center of Salvador, in a favela of Rio de Janeiro called Dona Marta, where the state authorities had tried to ban all production over fears the video would damage their image, the area and prospects of Rio de Janeiro staging the 2004 Olympics. Still, the residents of the area were happy to see the singer, hoping their problems would be made visible to a wider audience.
The second video was shot in a prison and contained video footage of multiple references to human rights abuses. Commercially, the song became a top ten hit in all European countries and number one in Germany for three weeks. In the US, radio stations were reluctant to play the controversial composition; the song was remixed with parts of songs such as "Privacy" and "Tabloid Junkie", released on the Immortal album, in November, 2011. The song was performed during Jackson's third and final concert series, the HIStory World Tour which ran from 1996 to 1997 as part of a medley with "Scream" and "In the Closet"; the song was set to be performed on Jackson's This Is It comeback concert series at The O2 Arena in London from July 2009 to March 2010 but the shows were cancelled due to his sudden death on June 25, 2009. The song begins with a group of children singing the chorus, "All I wanna say is that they don't care about us". In between the chorus lines, one child chants, "Don't worry what people say, we know the truth."
After which another child says, "Enough is enough of this garbage!" It is played in the key of D minor and the track's time signature is common time. The song, cited as being a pop song, has a moderately slow tempo of 90 beats per minute. Instruments used include synthesizers and guitar. Jon Pareles stated that Jackson was calling himself "a victim of police brutality" and a "victim of hate", he continued, "A listener might wonder just who'Us' is supposed to be... To make the songs lodge in the ear, Jackson uses elementary singsong melodies – a'nyah, nyah' two-note motif in'They Don't Care About Us'... and he comes up with all kinds of surprises in the arrangements". James Hunter of Rolling Stone magazine noted that musically, Jackson was no longer trying to hide any eccentricities he had, he expressed the opinion that in "They Don't Care About Us", the pop musician sounded more embattled than ever. Jim Farber of New York Daily News said that Jackson "snarled" while singing, that the song "clicked" and has an "original clattering rhythm".
The review of HIStory in The Washington Times noted of "They Don't Care About Us": " follows fast, inviting more pathos – and more controversy. With haunting clapping and a police scanner in the background"; the Sacramento Bee described it as a "looped reggae-lite dance beat". The song gained renewed attention and relevance due to its use during Black Lives Matter protests in 2014 and 2015. In the UK, it stayed on the chart for three months; the song found particular success in Europe, peaking within the top ten in all countries, except in Spain, where peaked at number 11, remained in the chart for just one week. European highlights came in Austria, France and Sweden, in these countries the song became a top five hit and stayed in their respective charts for a minimum of 21 weeks; the song reached the top of the charts for three weeks in Germany and stayed a full 30 weeks in the survey. It is the longest consecutive chart run of a Michael Jackson song in the German charts; the lyrical controversy surrounding "They Don't Care About Us" brought partial commercial disappointment in the US.
It peaked at number 30 on the US Billboard Hot 100 chart, falling short of the record breaking success of the two previous singles "Scream/Childhood" and "You Are Not Alone", yet the song peaked at number 10 on the US Billboard Hot R&B Singles chart. Producing the first video proved to be a difficult task for Jackson. State authorities unsuccessfully tried to ban the singer filming in Rio de Janeiro. Officials in the state of Rio feared images of poverty might affect tourism and accused Jackson of exploiting the poor. Ronaldo Cezar Coelho, the state secretary for Industry and Tourism demanded editing rights over the finished product, stating, "I don't see why we should have to facilitate films that will contribute nothing to all our efforts to rehabilitate Rio's image"; some were concerned that scenes of poverty and human rights abuses would affect their chances of hosting the Olympics in 2004. Others supported Jackson's wish to highlight the problems of the region, arguing that the government were embarrassed by their own failings.
A judge banned all filming. Although officials were angry, the residents were not and Jackson was surrounded by crowds of enthusiastic onlookers during filming. One woman managed to push through security to hug Jackson. Another woman hugged him from behind, he fell to the ground as police pulled th
A recording studio is a specialized facility for sound recording and audio production of instrumental or vocal musical performances, spoken words, other sounds. They range in size from a small in-home project studio large enough to record a single singer-guitarist, to a large building with space for a full orchestra of 100 or more musicians. Ideally both the recording and monitoring spaces are specially designed by an acoustician or audio engineer to achieve optimum acoustic properties. Recording studios may be used to record singers, instrumental musicians, voice-over artists for advertisements or dialogue replacement in film, television, or animation, foley, or to record their accompanying musical soundtracks; the typical recording studio consists of a room called the "studio" or "live room" equipped with microphones and mic stands, where instrumentalists and vocalists perform. The engineers and producers listen to the live music and the recorded "tracks" on high-quality monitor speakers or headphones.
There will be smaller rooms called "isolation booths" to accommodate loud instruments such as drums or electric guitar amplifiers and speakers, to keep these sounds from being audible to the microphones that are capturing the sounds from other instruments or voices, or to provide "drier" rooms for recording vocals or quieter acoustic instruments such as an acoustic guitar a or fiddle. Major recording studios have a range of large and hard-to-transport instruments and music equipment in the studio, such as a grand piano, Hammond organ, electric piano. Recording studios consist of three or more rooms: The "live room" of the studio where the vocalists sing and instrumentalists play their instruments, with their singing and playing picked up by microphones and, for electric and electronic instruments, by connecting the instruments' outputs or DI unit outputs to the mixing board. Isolation booths are small sound-insulated rooms with doors, designed for instrumentalists. Vocal booths are designed rooms for singers.
In both types of rooms, there are windows so the performers can see other band members and the audio engineer/record producer, as singers and musicians give or receive visual cues. This equipment may make noise. Recording studios are designed around the principles of room acoustics to create a set of spaces with the acoustical properties required for recording sound with precision and accuracy; this will consist of both room treatment and soundproofing to prevent sound from leaving the property. A recording studio has to be soundproofed on its outer shell as well, to prevent noises from the surrounding streets and roads from being picked up by microphones. A recording studio may include additional rooms, such as a vocal booth—a small room designed for voice recording, as well as one or more extra isolation booths for loud guitar stacks and extra control rooms. Though sound isolation is a key goal, the musicians, audio engineers and record producers still need to be able to see each other, to see cue gestures and conducting by a bandleader.
As such, the "live room", isolation booths, vocal booths and control room have windows. Equipment found in a recording studio includes: A large professional-grade mixing console Additional small mixing consoles with 4, 8 or 16 channels, for adding more channels A large number of preamplifiers for microphones, such as the Neve 1272 and Neve 3104 Multitrack recorder Computers A wide selection of microphones. Studios have Neuman Tube mics, AKG tube mics, RCA ribbon mics, a number of Shure SM 57 and SM 58 mics. A large number of DI unit boxes Two or more record players Syncs A wide variety of microphone stands (boom stands, straigh