Crime Boss Conflicts & Confusion

1. Crime Boss Conflicts & Confusionusion
2. Crime Boss Conflicts & Confusion Occurred
3. Crime Boss Conflicts & Confusion Meaning
4. Crime Boss Conflicts Confusion
5. Crime Boss Conflicts & Confusion

Crime Boss Conflicts & Confusionusion

Conflicts & Confusion is the second album by Crime Boss.

1. Bottom Line: Crime Boss's Conflicts & Confusion is a highlight of 1997 and goes in the long line of great albums that Suave House releases. The production provided by E-A-Ski and T-Mix(underrated producer who could have been the next big thing if he was promoted right) was solid and Crime Boss flowed pretty well on here.
2. Crime Boss - Conflicts and Confusion - 1997.

Conflicts & Confusion. More by Crime Boss. All In The Game 1995 The Owner 2010 Vampire Bleeding - EP 2015. As of June 28, the death toll in Nicaragua has reached 285, with more than 1,500 wounded. The country is divided, trying to make sense of the violence and the political climate that surrounds it.

Released on April 8, 1997 through Suave House and Relativity Records, Conflicts & Confusion easily became Crime Boss' most successful album, peaking at 25 on the Billboard 200. Production was handled by T-Mix and the production duo E-A-Ski and CMT. 'Please Stop' was released as a single and had a music video shot for it, but it failed to reach any Billboard charts.

Track listing[edit]

1. 'Intro'- 2:04
2. 'Conflicts and Confusion'- 2:44
3. 'No Friends'- 3:13
4. 'Chemical Imbalance'- 3:36 ft 8ball
5. 'Warning'- 3:50 ft MJG
6. 'Back to the Streets'- 4:11
7. 'Life Is Crying'- 5:02 ft NOLA
8. 'What Does It Mean to Be a Real Crime Boss'- 3:07
9. 'Close Range'- 3:17
10. 'Please Stop'- 2:55
11. 'Get up in Your Ass'- :42
12. 'Death Notes'- 4:23 ft Fedz
13. 'Get Mine'- 3:56 Thorough of SCircle, OC of the Fedz

Charts[edit]

References[edit]

External links[edit]

• Conflicts & Confusion at Allmusic
• Conflicts & Confusion at Discogs
• Conflicts & Confusion at Tower Records
• Conflicts & Confusion at Billboard

LOS ANGELES — The ghost of a bitter chapter for Los Angeles haunts the season debut of 'S.W.A.T.,' which casts today's police-connected African American deaths as part of a cruelly repetitive history. One ok rock concert 2020.

Series star Shemar Moore and executive producer Aaron Rahsaan Thomas are proud to claim ownership of the result airing 9 p.m. EST Wednesday on CBS (paired with a second, gear-shifting episode at 10 p.m.).

'We've been successful for three years playing super-cops and entertaining folks,' Moore said. 'For ‘S.W.A.T.' to take on what's been happening around this country, in the world, is very brave and very bold.'

Thomas said it's a step toward fulfilling the vision for the series he co-created with Shawn Ryan ('The Shield'). It's a reboot of the 1975-76 series with Steve Forrest as Daniel 'Hondo' Harrelson, head of a mostly white SWAT unit. This time around, Hondo is an LA-born African American striving to uphold the law and connect his multiethnic team with the community it serves.

'We attempted from the very first episode to try to say that we're going to be a show that entertains but also engages our audience. Well, 2020 allowed us to double down on that,' Thomas said.

The episode is one answer to whether network TV dramas, ever reliant on law enforcement officers as unalloyed heroes, can reflect opposing views as the deaths of George Floyd, Breonna Taylor and others drive demands for systemic change in police practices.

The 'S.W.A.T.' story line is directly linked to Floyd's death last May while in the custody of Minneapolis police, Thomas said.

Three months earlier, Thomas had been working on an episode intended to mark the anniversary of the April 1992 acquittal of LAPD officers in the beating of Black motorist Rodney King. The jury verdict triggered days of protest and destruction in Los Angeles, a deadly parallel to the 1965 Watts-area violence that also followed a law enforcement stop of a Black driver.

'At the time, the intent was to tell a story about how we perhaps had made progress because there had been 27 years between Watts and Rodney King, and since there have been 28 years between Rodney King and now,' and there had been no major crisis, Thomas said. ``Maybe, maybe we've learned our lesson.'

Crime Boss Conflicts & Confusion Occurred

Efforts to make that episode for last season were derailed by the coronavirus outbreak that halted TV and movie production last March. And then came the outraged reaction to a video showing Floyd pressed under an officer's knee for nearly 8 minutes before his death.

'The tenor of the episode went from a kind of humble appreciation to now, all of a sudden, there's kind of a realization that perhaps we haven't made the progress that we hoped that we had before,' Thomas said.

In the revamped story, Hondo and his dad, Daniel Sr., (Obba Babatundé) are shown in flashbacks that recall their experience. Later, the two clash over whether there's been progress — even with well-intentioned African Americans like Hondo on the force.

'Ain't no easy solution when Black people are being treated like they're disposable,' the older man says bitterly, his tears flowing. The episode is framed by scenes of a protest march and concludes with a powerful recitation of Floyd's last words.

Straight-ahead heroics aren't slighted, as Hondo's team tracks members of a drug cartel and try to deter a terrorist attack — all in under an hour, and with fleeting acknowledgment of the pandemic. (The virus outbreak is prominent in the paired 10 p.m. episode, with the central story involving SWAT-CIA efforts to track an international crime boss.)

Moore and Thomas said the episode had the strong support of CBS and co-producer Sony Pictures Television, but it's also the result of having a Black star and executive producer with the motivation and authority to initiate it. Moore also is a producer for 'S.W.A.T.'

Crime Boss Conflicts & Confusion Meaning

'What the show looks to do, and I've always looked to do as an individual, is to try to increase the types of voices that we see,' Thomas said. 'Not so much to eliminate the status quo that we've had before, but to expand the choices that a viewer has, so that you have different types of cop shows.. not just the standard that we've grown accustomed to.'

It remains to be seen how viewers react to a traditional broadcast drama addressing topical issues more common to cable and streaming fare.

References[edit]

External links[edit]

• Conflicts & Confusion at Allmusic
• Conflicts & Confusion at Discogs
• Conflicts & Confusion at Tower Records
• Conflicts & Confusion at Billboard

LOS ANGELES — The ghost of a bitter chapter for Los Angeles haunts the season debut of 'S.W.A.T.,' which casts today's police-connected African American deaths as part of a cruelly repetitive history. One ok rock concert 2020.

Series star Shemar Moore and executive producer Aaron Rahsaan Thomas are proud to claim ownership of the result airing 9 p.m. EST Wednesday on CBS (paired with a second, gear-shifting episode at 10 p.m.).

'We've been successful for three years playing super-cops and entertaining folks,' Moore said. 'For ‘S.W.A.T.' to take on what's been happening around this country, in the world, is very brave and very bold.'

Thomas said it's a step toward fulfilling the vision for the series he co-created with Shawn Ryan ('The Shield'). It's a reboot of the 1975-76 series with Steve Forrest as Daniel 'Hondo' Harrelson, head of a mostly white SWAT unit. This time around, Hondo is an LA-born African American striving to uphold the law and connect his multiethnic team with the community it serves.

'We attempted from the very first episode to try to say that we're going to be a show that entertains but also engages our audience. Well, 2020 allowed us to double down on that,' Thomas said.

The episode is one answer to whether network TV dramas, ever reliant on law enforcement officers as unalloyed heroes, can reflect opposing views as the deaths of George Floyd, Breonna Taylor and others drive demands for systemic change in police practices.

The 'S.W.A.T.' story line is directly linked to Floyd's death last May while in the custody of Minneapolis police, Thomas said.

Three months earlier, Thomas had been working on an episode intended to mark the anniversary of the April 1992 acquittal of LAPD officers in the beating of Black motorist Rodney King. The jury verdict triggered days of protest and destruction in Los Angeles, a deadly parallel to the 1965 Watts-area violence that also followed a law enforcement stop of a Black driver.

'At the time, the intent was to tell a story about how we perhaps had made progress because there had been 27 years between Watts and Rodney King, and since there have been 28 years between Rodney King and now,' and there had been no major crisis, Thomas said. ``Maybe, maybe we've learned our lesson.'

Crime Boss Conflicts & Confusion Occurred

Efforts to make that episode for last season were derailed by the coronavirus outbreak that halted TV and movie production last March. And then came the outraged reaction to a video showing Floyd pressed under an officer's knee for nearly 8 minutes before his death.

'The tenor of the episode went from a kind of humble appreciation to now, all of a sudden, there's kind of a realization that perhaps we haven't made the progress that we hoped that we had before,' Thomas said.

In the revamped story, Hondo and his dad, Daniel Sr., (Obba Babatundé) are shown in flashbacks that recall their experience. Later, the two clash over whether there's been progress — even with well-intentioned African Americans like Hondo on the force.

'Ain't no easy solution when Black people are being treated like they're disposable,' the older man says bitterly, his tears flowing. The episode is framed by scenes of a protest march and concludes with a powerful recitation of Floyd's last words.

Straight-ahead heroics aren't slighted, as Hondo's team tracks members of a drug cartel and try to deter a terrorist attack — all in under an hour, and with fleeting acknowledgment of the pandemic. (The virus outbreak is prominent in the paired 10 p.m. episode, with the central story involving SWAT-CIA efforts to track an international crime boss.)

Moore and Thomas said the episode had the strong support of CBS and co-producer Sony Pictures Television, but it's also the result of having a Black star and executive producer with the motivation and authority to initiate it. Moore also is a producer for 'S.W.A.T.'

Crime Boss Conflicts & Confusion Meaning

'What the show looks to do, and I've always looked to do as an individual, is to try to increase the types of voices that we see,' Thomas said. 'Not so much to eliminate the status quo that we've had before, but to expand the choices that a viewer has, so that you have different types of cop shows.. not just the standard that we've grown accustomed to.'

It remains to be seen how viewers react to a traditional broadcast drama addressing topical issues more common to cable and streaming fare.

Moore said that giving 'S.W.A.T.' fans the thrill ride they expect is the priority but doesn't preclude offering more, and doing it in a way that respects varied perspectives.

'I don't care who you are when you watch that show, you are moved. And to be able to entertain folks but also move them and create a conversation, a debate' is the goal, the actor said. 'We don't care what side you take, but just let us present all sides, because that's what we need, we need more communication.' Video sound increaser software.

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Crime Boss Conflicts Confusion

Lynn Elber can be reached at lelber@ap.org and is on Twitter at http://twitter.com/lynnelber. Adobe reader 11.0 16.

Crime Boss Conflicts & Confusion

Lynn Elber, The Associated Press