Word: bebop
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Dates: during 2000-2009
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...eyes of the slaveholders--which for one thing is how bad came to mean good in African-American slang. And though hip is often cool and evasive, it can also be angry and hot. In the late 1940s and the '50s, anger came back into hip through the improvisational bebop style of jazz developed by saxophonist Charlie Parker and trumpeter Dizzy Gillespie. In response to the domestication of jazz by the swing bands of the 1930s, Parker developed a defiantly anti-commercial style, one with solos so rapid-fire they were too fast to dance to--and almost too fast...
DIED. ELVIN JONES, 76, post-bebop drummer best known for pushing the innovative saxophonist John Coltrane to rapturous heights; in New York City. In the early 1950s he refined his explosive, polyrhythmic style in the fertile Detroit jazz scene, and in 1955 he moved to New York, where he recorded with Miles Davis and Sonny Rollins. He joined Coltrane's quartet in 1960 and later led the Elvin Jones Jazz Machine...
Comparison with Bebop is also one of the highest compliments Jones can give to any genre—as he made his musical bones under the shadow of Beboppers and has a reverence bordering on the religious for icons like Miles Davis and John Coltrane...
...cinematic style of animation pioneered by the Japanese. After the original Matrix opened in Japan in September 1999, the Wachowskis floated the possibility of producing an anim? homage, based on the Matrix world, as an appendix to the films. Top directors?including Shinichiro Watanabe, creator of the hip Cowboy Bebop, and Koji Morimoto, who worked on the seminal Akira?signed on immediately. The brothers wrote four of the nine shorts themselves; the rest were penned by the directors under Wachowski supervision. "The Animatrix was like being invited to the brothers' house," says Watanabe. "We got to play in their huge...
...COWBOY BEBOP. This anime entertainment from Japan has marked time alongside The Powerpuff Girls on the Cartoon Network, but otherwise the two series don’t have much in common. Cowboy Bebop’s celluloid incarnation avoids Powerpuff’s sugar-and-spice conceit in favor of a complex plot involving Martians, killer macadamia nuts and pharmaceutical corporations. The film borrows copiously from a range of niche genres—action, romance, western and sci-fi, among others. It’s a shame that it isn’t a musical, too (“Bebop?...