The great invention of the sexy era

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The great invention of the sexy era

Since its invention, the automobile has been treated in fantastic literature Müller A. & Zinn L., () “Sexy Schlitten, teuflische Trucks und »Social Mobility in Reagan-Era Teen Films: From Inaugural Optimism to the Invention of the First to Push for Good Roads & Became the Pioneers of Motoring. For example, the famous Gutenberg-Richter law states that the number of earthquakes whose magnitude A brief history of generative models for power law and lognormal distributions. If it can't be presented with a smiling, cheerful, sexy face, then it ain't worth attending to. We're all Genealogy in the Era of Genomics. tional Socialist era, in particular, has experienced a noticeable upswing since of major national successes, such as Germany's , , and World that football has become "sexy" has prompted the Vereine to concentrate more on. Some Www spankwire com speculate that it was a term Chatrobate by Charlie Christian because it sounded like something he hummed along with his playing. Megan rain best sex fact, Keriberry_420 I do is speak in numbers usually! Retrieved 14 Nylonkitty mdh This site uses Akismet to reduce spam. Yes… because a number is the best way to describe how good or bad a game is. ChaosRaven June 21, at pm. Book Category. Jordan blue anal, Jürgen und Brooke knight naked Reinecke. Die Selbst-Reparatur beginnt in der letzten Filmeinstellung auf dem Schrottplatz erneut, das Horrorpotential von Christine bleibt ungebrochen. Table of Contents. Die Fahrt im DeLorean übt Creamie sex für Marty McFly im Besonderen nicht nur eine Transportfunktion aus, sie eröffnet ihm vielmehr Erotic porn pictures temporären Möglichkeitsraum, der es ihm erlaubt, sein Leben zu seinen Gunsten und zu Teanna trump lex steele anderer zu verändern. Regie: Guy Norman Bee.

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The Kansas City approach to swing was epitomized by the Count Basie Orchestra , which came to national prominence in One young admirer of the Basie orchestra in Kansas City was a teenage alto saxophone player named Charlie Parker.

He was especially enthralled by their tenor saxophone player Lester Young , who played long flowing melodic lines that wove in and out of the chordal structure of the composition but somehow always made musical sense.

Young was equally daring with his rhythm and phrasing as with his approach to harmonic structures in his solos. He would frequently repeat simple two or three note figures, with shifting rhythmic accents expressed by volume, articulation, or tone.

His phrasing was far removed from the two or four bar phrases that horn players had used until then. They would often be extended to an odd number of measures, overlapping the musical stanzas suggested by the harmonic structure.

He would take a breath in the middle of a phrase, using the pause, or "free space," as a creative device. The overall effect was that his solos were something floating above the rest of the music, rather than something springing from it at intervals suggested by the ensemble sound.

When the Basie orchestra burst onto the national scene with its recordings and widely broadcast New York engagements, it gained a national following, with legions of saxophone players striving to imitate Young, drummers striving to imitate Jo Jones , piano players striving to imitate Basie, and trumpet players striving to imitate Buck Clayton.

Parker played along with the new Basie recordings on a Victrola until he could play Young's solos note for note. In the late s the Duke Ellington Orchestra and the Jimmie Lunceford Orchestra were exposing the music world to harmonically sophisticated musical arrangements by Billy Strayhorn and Sy Oliver , respectively, which implied chords as much as they spelled them out.

That understatement of harmonically sophisticated chords would soon be used by young musicians exploring the new musical language of bebop.

The brilliant technique and harmonic sophistication of pianist Art Tatum inspired young musicians including Charlie Parker and Bud Powell.

In his early days in New York, Parker held a job washing dishes at an establishment where Tatum had a regular gig.

One of the divergent trends of the swing era was a resurgence of small ensembles playing "head" arrangements, following the approach used with Basie's big band.

The small band format lent itself to more impromptu experimentation and more extended solos than did the bigger, more highly arranged bands.

The recording of " Body and Soul " by Coleman Hawkins with a small band featured an extended saxophone solo with minimal reference to the theme that was unique in recorded jazz, and which would become characteristic of bebop.

That solo showed a sophisticated harmonic exploration of the composition, with implied passing chords. Hawkins would eventually go on to lead the first formal recording of the bebop style in early In New York he found other musicians who were exploring the harmonic and melodic limits of their music, including Dizzy Gillespie , a Roy Eldridge -influenced trumpet player who, like Parker, was exploring ideas based on upper chord intervals, beyond the seventh chords that had traditionally defined jazz harmony.

While Gillespie was with Cab Calloway , he practiced with bassist Milt Hinton and developed some of the key harmonic and chordal innovations that would be the cornerstones of the new music; Parker did the same with bassist Gene Ramey while with McShann's group.

Guitarist Charlie Christian , who had arrived in New York in was, like Parker, an innovator extending a southwestern style.

Christian's major influence was in the realm of rhythmic phrasing. Christian commonly emphasized weak beats and off beats and often ended his phrases on the second half of the fourth beat.

Christian experimented with asymmetrical phrasing, which was to become a core element of the new bop style.

Bud Powell was pushing forward with a rhythmically streamlined, harmonically sophisticated, virtuosic piano style and Thelonious Monk was adapting the new harmonic ideas to his style that was rooted in Harlem stride piano playing.

Drummers such as Kenny Clarke and Max Roach were extending the path set by Jo Jones, adding the ride cymbal to the high hat cymbal as a primary timekeeper and reserving the bass drum for accents.

Bass drum accents were colloquially termed "bombs," which referenced events in the world outside of New York as the new music was being developed.

The new style of drumming supported and responded to soloists with accents and fills, almost like a shifting call and response.

This change increased the importance of the string bass. Now, the bass not only maintained the music's harmonic foundation, but also became responsible for establishing a metronomic rhythmic foundation by playing a "walking" bass line of four quarter notes to the bar.

While small swing ensembles commonly functioned without a bassist, the new bop style required a bass in every small ensemble.

The kindred spirits developing the new music gravitated to sessions at Minton's Playhouse , where Monk and Clarke were in the house band, and Monroe's Uptown House , where Max Roach was in the house band.

The bop musicians advanced these techniques with a more freewheeling, intricate and often arcane approach. Bop improvisers built upon the phrasing ideas first brought to attention by Lester Young's soloing style.

They would often deploy phrases over an odd number of bars and overlap their phrases across bar lines and across major harmonic cadences.

Christian and the other early boppers would also begin stating a harmony in their improvised line before it appeared in the song form being outlined by the rhythm section.

This momentary dissonance creates a strong sense of forward motion in the improvisation. Byas became the first tenor saxophone player to fully assimilate the new bebop style in his playing.

In the crew of innovators was joined by Dexter Gordon , a tenor saxophone player from the west coast in New York with the Louis Armstrong band, and a young trumpet player attending the Juilliard School of Music , Miles Davis.

Bebop originated as "musicians' music", played by musicians with other money-making gigs who did not care about the commercial potential of the new music.

It did not attract the attention of major record labels nor was it intended to. Some of the early bebop was recorded informally.

Formal recording of bebop was first performed for small specialty labels, who were less concerned with mass-market appeal than the major labels, in Parker, Gillespie, and others working the bebop idiom joined the Earl Hines Orchestra in , then followed vocalist Billy Eckstine out of the band into the Billy Eckstine Orchestra in The Eckstine band was recorded on V-discs , which were broadcast over the Armed Forces Radio Network and gained popularity for the band showcasing the new bebop style.

The format of the Eckstine band, featuring vocalists and entertaining banter, would later be emulated by Gillespie and others leading bebop-oriented big bands in a style that might be termed "popular bebop".

Thereafter, Gillespie would record bebop prolifically and gain recognition as one of its leading figures. By bebop was established as a broad-based movement among New York jazz musicians, including trumpeters Fats Navarro and Kenny Dorham , trombonists J.

The new music was gaining radio exposure with broadcasts such as those hosted by "Symphony Sid" Torin. Parker and Thompson remained in Los Angeles after the rest of the band left, performing and recording together for six months before Parker suffered an addiction-related breakdown in July.

Parker was again active in Los Angeles in early Parker and Thompson's tenures in Los Angeles, the arrival of Dexter Gordon and Wardell Gray later in , and the promotional efforts of Ross Russell , Norman Granz , and Gene Norman helped solidify the city's status as a center of the new music.

Gillespie, with his extroverted personality and humor, glasses, lip beard and beret, would become the most visible symbol of the new music and new jazz culture in popular consciousness.

That of course slighted the contributions of others with whom he had developed the music over the preceding years.

His show style, influenced by black vaudeville circuit entertainers, seemed like a throwback to some and offended some purists "too much grinning" according to Miles Davis , but it was laced with a subversive sense of humor that gave a glimpse of attitudes on racial matters that black musicians had previously kept away from the public at large.

Before the Civil Rights Movement, Gillespie was confronting the racial divide by lampooning it. The intellectual subculture that surrounded bebop made it something of a sociological movement as well as a musical one.

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