1.求 bitch please ii eminem歌词!中文!

2.黎明杀机12个屠夫介绍

3.Talkin New York 歌词

4.《黎明杀机》15个屠夫的背景介绍是什么?

5.黎明杀机四位屠夫的故事

6.乡村音乐的主题和内容?

7.谁帮我写一段关于爵士乐的英文介绍

hillbilly_hillbilly bone

一 、摇滚乐的产生

1、背景

回顾20世纪上半叶的美国历史,从20年代末到30年代中期,欧美发生经济危机,出现了经济大萧条;30年代末,第二次世界大战爆发;1941年日本袭击珍珠港?拦?度敕捶ㄎ魉拐秸钡?945年战争才结束。再看50年代以后,50年代,美国是一个相对稳定和繁荣的时期,也经常被视为美国人的繁荣时代。60年代是美国历史上最动荡的年代之一。由于出兵参加越南战争,遭到人民的反对,使全国处于社会、政治极不安宁的状态。

恰好在50年代,特别是1952年艾森豪威尔就任总统后,美国经济开始稳定,整个社会也处于安居乐业的状态。于是,中产阶级逐渐增多,他们养儿育女,出现了一个生育高峰期。青少年的数量空前增长,一下子这个世界成了青年人的天下。当时,孩子们在课余生活里,一般都与家人呆在一起。电视节目也比较健康,在音乐趣味上也没有太大的鸿沟。青老年人欣赏的音乐也基本相同,都是40年代和50年代的\"大乐队\"演奏的音乐,还有就是延续了几十年的叮砰巷歌曲,歌词经常表达单纯的爱情,音乐也不带威协性,尽量给人一种舒适、安宁的感觉。

到了50年代中期,这批青少年由于生活条件优越,没有像父辈那样经历过战争和苦难,同时又倍受家庭的宠爱,因此,他们开始不理解父母们的思维和生活方式,不愿意走父母为自己安排好的道路。他们有了自己的追求和爱好,而且由于人多势众,形成了一股强大的力量,他们不再跟随父母欣赏那些多愁善感的流行歌曲。这时,他们正好在摇滚乐中找到了自己的声音。摇滚乐简单、有力、直白,特别是它那强烈的节奏,与青少年精力充沛、好动的特性相吻合;摇滚乐无拘无束的表演形势,与他们的逆反心理相适应;摇滚乐歌唱的题材,与他们所关心的问题密切相关。

2、摇滚乐的出现

20世纪50年代初期,美国的流行音乐市场出现了一个三足鼎立的现象。黑人欣赏的音乐基本上以节奏布鲁斯为主,中产阶级以上的白人听的都是叮砰巷歌曲,而中西部的农村听众所喜欢的都是与农村生活有关的乡村音乐。然而,到了50年代中期(约1954~1956年期间),唱片市场出现了两个明显的现象,即\"市场交*\"和\"翻唱版\"的出现。\"市场交*\"是指原来在一个市场发行的唱片,同时在另一个市场也取得了很好的成绩。如有些歌曲在节奏布鲁斯销售榜上名列前茅,同时在波普(指当时的流行歌曲,叮砰巷歌曲的延续)榜上也倍受欢迎。看到这种有利可图的市场交*情况,有些大唱片公司很快根据正流行的节奏布鲁斯歌曲制作出自己的版本,由此导致了大量\"翻唱版\"的出现。这个时候,原来隔开的三个市场突然间感觉中间的围墙倒了,在这片废墟中一种新的风格--摇滚乐正式诞生了。

摇滚乐的正式产生是在50年代中期,但是这个名词却在50年代初期就已出现。1951年,克利夫兰电台唱片节目主持人艾伦·弗里德(Alan Freed)从一首节奏布鲁斯歌曲《我们要去摇,我们要去滚》(We\‘re Gonna Rock ,We\‘re Gonna Roll)中创造出了\"摇滚乐\"(Rock n\‘ Roll)这个名词。1955年,**《黑板丛林》(Blackboard Jungle)的上映对摇滚乐的产生带来了巨大的影响。它讲述的是一群学生造反的故事。一位中学教师面对这群学生唱起了一首歌,这首歌就是影片的插曲《昼夜摇滚》(Rock Around The Clock,例16)。这首歌曲在青少年中引起了极大的轰动。1955年7月,《昼夜摇滚》在波普排行榜上获得第一名,标志着摇滚时代的到来。它的演唱者比尔·哈利,也因此成了青少年崇拜的第一个摇滚乐偶像。从此,摇滚乐开始风靡全国。

1、 摇滚乐的来源

节奏布鲁斯(Rhythm&Blues)

美国的种族隔离一直很严重,在住宅区、学校、教堂和各种社会设施中,白人和黑人都是分开的。在种族隔离的政策下,黑人保留着自己的宗教、语言、服饰、舞蹈和音乐。节奏布鲁斯像其他黑人音乐一样,拥有自己的群体。它被称作\"种族唱片\",与白人音乐市场是分开的。

节奏布鲁斯是第二次世界大战以后布鲁斯音乐继续发展的结果。它在城市布鲁斯的基础上结合了摇摆乐和钢琴音乐布吉-乌吉的特点,声音变得更加有力,更加突出持续不断、向前推进的节奏。它还保留了黑人音乐即兴演奏的传统,合奏时仍然用可以不断反复的12小节布鲁斯曲式与和声框架。第二次世界大战以前,布鲁斯唱片一直由小唱片公司经营,战后,由于黑人社会地位的改变,几家大唱片公司对黑人音乐产生了兴趣,此时,排行榜也开始用\"节奏布鲁斯\"来代替原来\"种族唱片\"的称呼。这个时期的代表人物有路易斯·乔丹(Louis Jordan,1908~15)、乔·理京斯(Joe Liggins)等。节奏布鲁斯的特点在很多摇滚乐中得到了直接的体现,特别是早期的摇滚乐,好多都是节奏布鲁斯的\"翻唱版\"。70年代,节奏布鲁斯与福音歌(Gospel)相结合之后,使它的发展步伐逐步加快。以致70年代所有的黑人音乐都带有一股浓烈的节奏布鲁斯气息,特别是索尔音乐(详见索尔音乐部分)有时和节奏布鲁斯几乎难以区分(如马文·盖伊、杰克逊五兄弟等人的作品)。80年代以后,节奏布鲁斯融进了更多的流行音乐成分,使其变得更加商业化。比如当今的节奏布鲁斯,好多都已经失去了原有布鲁斯的特征,而强调反拍的律动成了它的主体,有时偶尔在演唱中还能找到几个由滑音而带出的布鲁斯音符。像近几年出现的所谓的节奏布鲁斯歌手白兰蒂和莫尼卡(Brandy&Monica)、布莱恩·麦克奈特(Brian Mcknight)等人的音乐,其实已经不是真正的节奏布鲁斯了,如果硬要从理论上分析的话,只能把它看作是一种被商业化了的,被流行音乐市场漂白过的节奏布鲁斯。但是并不是所有的节奏布鲁斯都是如此,比如19年的两首格莱美获奖作品:埃里克·克莱普顿(Eric Clapton)的《改变世界》(Change The World)和翠西·查普曼(Tracy Chapman)的《给我一个理由》(Give Me One Reason,例17)就是既融进流行音乐成分又保持布鲁斯特征的现代节奏布鲁斯佳作。节奏布鲁斯作为摇滚乐的重要来源之一,已成了历史的见证,它在影响了摇滚乐之后,自身的不断发展,又使其变成了当今流行乐坛最受宠爱的乐种之一。

叮砰巷歌曲(Tin Pan Alley)

20世纪50年代初,全国大多数人所听的流行音乐\"波普\"(POP)就是叮砰巷传统风格的延续。它带有好莱坞**音乐、百老汇音乐剧和三四十年代盛行的摇摆乐的影响。叮砰巷是个地名,位于纽约第28街(第五大道与百老汇街之间)。从19世纪末起,那里集中了很多音乐出版公司,各公司都有歌曲推销员整天弹琴,吸引顾客。由于钢琴使用过度,音色疲塌,像敲击洋铁盘子似的,于是有人戏称这个地方为\"叮砰巷\"(或译为\"廷潘胡同\")。叮砰巷不仅是流行音乐出版中心,也成为流行音乐史上一个时代的象征、一种风格的代表。它差不多延续了半个多世纪,从19世纪末直到20世纪50年代末。

叮砰巷歌曲一般都由白人专业作曲家所创作。不同时期、不同作者的风格各不相同,但有共同点。从内容来看以爱情为主,充满浪漫情调,或略带怀旧、伤感,或比较欢快、风趣,不管国内外发生什么事情,都很少在叮砰巷歌曲中得到反映。它主要表现生活中阳光的一面,好像美国人都在无忧无虑地享受人生;从表现形式来看,歌唱性的旋律、不复杂的节奏、自然音体系的和声(有时也出现变化和弦和乐句之间的转调),大都用\"节歌-叠歌\"(Verse-Chorus,即主歌加副歌)形式(例18)。叮砰巷歌曲通常由职业歌手按谱演唱,讲究声乐技巧,有乐队或小合唱队伴奏,经常用弦乐群作为伴奏的背景音色。如当时的著名流行歌手平·克劳斯比(Bing Crosby,1904~17)、富兰克·辛纳特拉(Frank Sinatra,1915~19)等都以演唱叮砰巷歌曲为主。叮砰巷歌曲流传的范围主要是城里的白人,很少扩展到黑人或下层人民中去。50年代摇滚乐的出现,使传统的叮砰巷歌曲在整个流行音乐中的地位受到了挑战。著名的叮砰巷作曲家有欧文·伯林(Irving Berlin,1888~1992),代表作品有《白色圣诞》(White Christmas);科尔·波特 (Cole Porter,1891~1964),代表作品有《白天与黑夜》(Night and Day);杰若米·科恩(Jerome Kern,1885~1945),代表作品有音乐剧《老人河》(Old Man River);理查德·罗杰斯(Richard Rogers,1902~19),代表作品有音乐剧《音乐之声》(The sound of music)、《》(Blue Moon);乔治·格什温(George Gershwin,1898~1937),代表作品有《夏天时光》(Summer Time)、《蓝色狂想曲》(Rhapsody in Blue)。

乡村音乐(详见上文)

二、早期摇滚乐

50年代中期到60年代初期,摇滚乐从一个刚学会走路的幼儿迅速的成长起来,在这期间,摇滚乐舞台显现出了一片繁荣盛景。首先是两位先行者为摇滚乐的概念作出了更加完整的定位,接着又在众位摇滚明星的拥护下使其呈现出了三种不同的风格倾向。

1、比尔·哈利(Bill Haley ,1925 ~1981)

比尔·哈利,第一位被青少年崇拜的摇滚乐偶像,经常被人称作\"摇滚乐之父\"。他的音乐风格涉及乡村音乐、节奏布鲁斯和波普三个方面,也正好说明了50年代中期摇滚乐产生的三个源头。

1925年,比尔·哈利生于密西根州,父亲是纺织工人,会弹班卓琴,母亲是钢琴教师。比尔·哈利从小学习吉他,演唱乡村歌曲,也喜欢和熟悉节奏布鲁斯,并于1950年成立\"骑马人\"(Saddlemen)乐队。比尔·哈利在演唱乡村歌曲的同时,偶尔发现用乡村音乐风格演唱节奏布鲁斯歌曲也能被白人听众接受。1953年,他把乐队改名为\"彗星\"(Comets),并有意识地把乡村音乐与节奏布鲁斯强劲有力的节奏结合在一起。1954年,比尔·哈利录制了《昼夜摇滚》,起初只有一般的效果,但当它于1955年与**《黑板丛林》结合在一起时,却产生了巨大的轰动。

70年代,比尔·哈利患上了狂想症,再加上酗酒的习惯,于1981年死于心脏病。作为摇滚乐先行者之一,比尔·哈利为摇滚乐的产生起到了不可磨灭的作用。

2、埃尔维斯·普莱斯利(Elvis Presley,1935~17)

50年代最有影响的歌手是埃尔维斯·普莱斯利,素有\"摇滚乐之王\"的称号,他为摇滚乐的推广和普及做出了巨大的贡献。

普莱斯利,1935年出生于密西西比州的图佩洛。自幼家境贫寒,父亲是一名卡车司机,生活在白人社会底层,因与黑人杂居,社会地位与黑人同等。普莱斯利从小就接触白人与黑人两种文化,并在教堂福音歌的熏陶下长大。11岁开始学习吉他,因此,他既吸收白人音乐,又吸收黑人音乐。1948年普莱斯利全家迁往孟菲斯,他经常去城里的黑人区听B·B金等人的演唱。

1953年,普莱斯利中学毕业后,找到了一份卡车司机的工作。那年夏天,他到\"太阳\"唱片公司录音棚录制了两首歌曲,作为给他母亲的生日礼物。这时,唱片公司老板萨姆·菲利普斯(Sam Phillips)发现了普莱斯利的潜力,一个白人,却有着黑人的声音和感觉,于是便与他签约。1954年7月,发行了第一张唱片《那很不错》(That\‘s All Right),在当地获得了出乎意料的成功。他的舞台表演(如扭动臀部等大幅度的动作),更是赢得了众多青年人的喜爱。1955年秋,他转签RCA胜利唱片公司。1956年随着《伤心旅店》(Heartbreak Hotel,例19)的发行,使其名声大振。1958年在他事业步入辉煌之时,他却离开了歌坛,放弃了演唱,应征入伍,直到1960年复员。从1962年到1968年,普莱斯利除了拍**外,很少与听众接触,隐居在孟菲斯老家。1967年,普莱斯利与博利尤(Priscilla Beaulieu)结婚。婚后生有一女,但6年后他们因婚姻破裂而离婚,女儿判给了女方,他精神受到刺激,意气消沉。他的体重超过200磅,有损舞台形象。因此,他开始节食、吃减肥药,加上,健康大受影响。17年8月16日因心脏病在家中去世,终年42岁。

一代歌王离开了人间,全国为之震动。截止他死时为止,至少售出了5亿张唱片。确实,普莱斯利的成功不是偶然的,有人说他是摇滚乐的化身。他的模样逗人喜欢,带有一种不落俗套的反叛性;他信仰宗教、孝顺父母、爱国(如志愿入伍)、从不逃税。最重要的是他比任何一位歌手都更出色地把两种文化(黑人文化和白人文化)结合在一起。而且,普莱斯利还在两种文化的基础上唱出了更多的音乐风格。他的歌唱既有呼喊型的,也有温和型的,内容涉及爱国的、宗教的、逃避现实的、社会评议的、乡土气息的、浪漫情调的不同方面,以此满足了不同阶层的需要。他成了不同音乐爱好者都喜欢的人物。普莱斯利死后,音乐产业很想再找一位像他那样多面的歌手,但一直没有成功。 3、三种风格倾向

主流摇滚(Main Stream Rock)

在摇滚乐的三个来源中,我们已经提到过,节奏布鲁斯是摇滚乐最重要的来源。节奏布鲁斯的特点也在摇滚乐中得到了保留和发展,由此形成了50年代摇滚乐中的主流风格。节奏的作用在所有摇滚乐中都很明显,但在主流摇滚中更被突出。摇滚乐一般为四拍子,在传统的四拍子中二、四拍是弱拍,许多主流摇滚却强调二、四拍力度,也有的主流摇滚对每小节的四拍同等强调。主流摇滚比节奏布鲁斯在节奏上的变化更快些,反拍的力度更厚重,感觉更强烈。在乐队中,鼓手与其他乐手一样重要,不只是单纯的敲击拍子,钢琴和吉他也经常参与节奏的组成。而且他们还与贝司一起形成明显的低音线条。乡村音乐和波普的低音通常是每拍或每隔一拍有个低音,主流摇滚像节奏布鲁斯那样吸收了布吉-乌吉的元素后,不只是提供简单的和弦低音,而是一个短小的旋律音型,提供和弦的三四个音,有的还增加一二个和弦外音(例20)。

主流摇滚继承了节奏布鲁斯强劲有力的演唱风格。对于白人来说,过去很少有这样的类型,但在节奏布鲁斯那里却有几十年的发展历史了。主流摇滚还经常用12小节布鲁斯曲式结构,或以此为基础加以变化。如普莱斯利演唱的《猎犬》(Hound dog)、《监狱摇滚》(Jailhouse Rock),小理查德(Little Richard)演唱的《露西》(Lucille,例21)等。50年代最能体现这种呼喊型摇滚乐特点的歌手是小理查德。

小理查德,1932年出生于美国左治亚州的梅肯,是全家12个小孩中的第三个。他从小家境贫寒,在家庭的影响下虔诚的信仰上帝,参加当地教堂的唱诗班。

小理查德的演唱十分狂热,连唱带喊加上跳,总是满头大汗的样子。1957年,他投身于宗教,断绝了一切演出活动。1962年,他赴英国巡回演出时受到披头士的鼓舞,又决心重返摇滚乐坛。到了60年代末,他的风格显得有点过时了,但他的影响仍可从其他摇滚歌手中显示出来。70年代,他企图重整旗鼓,但因卷入、酗酒和同性恋而未能如愿。80年代初,他再一次放弃狂放的生活方式而转向宗教。

温和摇滚(Soft Rock)

主流摇滚受波普的影响很少,但其他摇滚乐结合了波普的成分,则形成了一种比较温和的摇滚乐风格。有人对这种摇滚乐嗤之以鼻,称它为\"廉价摇滚\",但它却有着自己的市场。事情往往是相对的,有了比较强劲的主流摇滚风格,一定会出现它的对立面--温和摇滚。普莱斯利为发展温和摇滚树立了样板,如50年代的《想你、要你、爱你》(I want you,I need you,I love you)、《别》(Don\‘t)、《温柔地爱我》(Love me tender,例22)等歌曲。60年代,他有更多的作品朝着温和摇滚的方向发展,有的简直与波普没有区别。

山区摇滚(Rockabilly)

山区摇滚通常是具有乡村音乐背景的白人乐手,因受节奏布鲁斯影响而形成的一种摇滚风格。它由摇滚乐与乡村音乐的前身--山区音乐相结合而成,就像\"rockabilly\"这个词本身所表示的那样:由\"Rock\"和\"Hillbilly\"两个词组合而成。山区摇滚于50年代产生在美国南方,是乡村摇滚的前兆,它按照山区音乐的演唱方式,通常用原声吉他作为节奏性乐器。另外,在传统乡村音乐中从不使用的鼓也出现在山区摇滚中。从整体看,很难精确地划分山区摇滚与主流摇滚的区别,它与主流摇滚一样,具有强烈的、不断向前推进的节奏,只是强烈程度有所减轻和冲淡,不用呼喊的演唱方式,音高也是清楚的。有人认为它的风格不纯,不是真正的摇滚;也有人认为,这样一来摇滚乐可以被更多的人所接受。其实,比尔·哈利的那首《昼夜摇滚》就是用了节奏布鲁斯的材料,用它所熟悉的乡村音乐加以修饰而成,它不仅为主流摇滚乐,也为山区摇滚打下了基础。最有影响的山区摇滚代表是\"埃弗利兄弟\"演唱组(Everly Brothers)。

\"埃弗利兄弟\"由唐·埃弗利(Don Everly,1937年出生)和菲尔·埃弗利(Phil Everly,1939年出生)两兄弟组成。它们以普莱斯利为榜样,向着山区摇滚方向发展,取得了很大成功。音乐上,他们没有直接受到节奏布鲁斯的影响,基本上保持了传统的山区音乐风格,演唱时注重和声的运用。1988年,\"埃弗利兄弟\"首批被正式列入《摇滚名人录》。

主流摇滚、温和摇滚和山区摇滚,这些名词只是用来说明摇滚乐风格的不同倾向。每个歌手都有自己的演唱特点,有的典型地体现了某种倾向,有的则不然。即便是同一歌手,不同时期、不同作品也有区别。因此,不宜给歌手硬贴标签。

求 bitch please ii eminem歌词!中文!

什么是电梯式演讲

麦肯锡公司曾经得到过一次沉痛的教训:该公司曾经为一家重要的大客户做咨询。咨询结束的时候,麦肯锡的项目负责人在电梯间里遇见了对方的董事长,该董事长问麦肯锡的项目负责人:“你能不能说一下现在的结果呢?”由于该项目负责人没有准备,而且即使有准备,也无法在电梯从30层到1层的300秒钟内把结果说清楚。最终,麦肯锡失去了这一重要客户。从此,麦肯锡要求公司员工凡事要在最短的时间内把结果表达清楚,凡事要直奔主题、直奔结果。麦肯锡认为,一般情况下人们最多记得住一二三,记不住四五六,所以凡事要归纳在3条以内。这就是如今在商界流传甚广的“30秒钟电梯理论”或称“电梯演讲”。

Elevator Pitch 如何翻译?

“电梯演讲”。见baike.baidu/view/2804691。即需要你用很短的时间推销成功自己。

“电梯演讲”就是目前国内统一的叫法啊,或者“1分钟演讲”,“雷电演说”?

电梯维保会议演讲稿怎么写啊?急急急 5分

你们是电梯维保单位吗?就写你们近期获得的成绩,电梯维保的情况,在主管部门的指导语引领下,获得了哪些改善与长足的进步。以后要怎么继续保持,如果改变不好的状况。最后希望电梯维保单位都严格管理,杜绝安全事故。

求一篇英语演讲稿 我的话题是英语 不要很长 我是高一的 具体说下什么内容 给提个意见 我下周一演讲...

New Discovery

A hillbilly was visiting the big city for the first time. Entering an office building, he saw a pudgy older woman step into a *** all room. The doors closed, lights flashed, and after a while the door slid open and a beautiful young

model stepped off the elevator.

Blinking in amazement, the hillbilly drawled, "I shouldhe brought my wife!"

新发现

一个乡下人第一次到大城市游逛。他走进一座大楼,看见一个岁数很大的矮胖女人迈进一个小房间。房间的门随后关上,有几个灯在闪亮。一会儿,门开了,电梯里走出一位年青漂亮的女。

乡下人惊奇地眨着眼睛,慢吞吞地说:“我应该把我的老婆带来!”

电梯事故5分钟时事演讲

请不要再扩大宣传电梯事故!!将心比心各行各业都不容易!!

恐惧的本身就是对我们所有电梯行业从业人员的一种不信任,一种不尊重,没有人理解一个电梯工需要为了您每天的出行方便安全付出了什么!

您在凌晨三点归来,你不曾想到一个电梯工已经在维修加班的途中;

当你进入梦乡时,这些可爱的人还在为了你明天的方便,还在熬夜排查故障。

你不曾想到您看一场球赛看一次展会一群电梯工为了大家的安全24小时在岗只是为了您的乘坐安全;

你不曾想到一个电梯工陪老婆孩子想真正的旅行一次是多么的艰难,您的一个电话我们就得在30分钟抛下老婆孩子赶往工地现场;

你不曾想到有多少维修安装的电梯工人牺牲在为您电梯服务的路上,电梯井道狭窄在您看来可能肮脏,可是那就是我们电梯人一辈子的归宿;

你可曾知道中国目前95%的事故死亡的都是在电梯里安装又或者维修的电梯工人,大家真的关心过吗?

请暂停您手中的事故传播,不要传递恐惧,您不是我们,您没有资格去调侃一帮拿着卖的钱却操著卖的心,说不定哪天还要进班房。抛妻弃子为了一些陌生到一辈子可能都见不上一面的人的安全彻夜难眠的电梯人。

人们一味责问电梯从业人员时,又有谁来提高他们的职业荣誉感和薪酬呢?

《创业教育与就业指导》期末作业什么是电梯式演讲

哥们,找到答案了吗 同工大

电梯安全演讲250字

电梯安全讲话稿

各位老师、同学们:

随着社会的日益发展,电梯在人们日常生活中的使用越来越普遍,电梯在给人们的生活带来极大的方便的同时,天梯安全事故也时常见诸报端。为进一步构建安全和-谐的校园环境,提高学生的安全意识,今天,我校通过知识讲座的形式开展“电梯安全进校园”专项安全教育活动。下面我将通过两方面讲讲电梯的正确使用知识:

一、电梯的正确使用方法。

1、呼叫电梯时,乘客仅需要按所去方向的呼叫按钮,请勿同时将上行和下行方向按钮都按亮,以免造成无用的轿厢停靠,降低大楼电梯的总输送效率。同时这样也是为了避免安全装置错误动作,造成乘客被困在轿厢内,影响电梯正常运行。

2、电梯门开启时,一定不要将手放在门板上,防止门板缩回时挤伤手指,电梯门关闭时,切勿将手搭在门的边缘,以免影响关门动作甚至挤伤手指。带小孩时,应当用手拉紧或抱住小孩乘坐电梯。

3、乘坐电梯时应与电梯门保持一定距离,为了安全起见,因为在电梯运行时,电梯门与井道相连,相对速度非常快,电梯门万一失灵,在门附近的乘客会相当危险。

4、不要在电梯里蹦跳。电梯轿厢上设置了很多安全保护开关。如果在轿厢内蹦跳,轿厢就会严重倾斜,有可能导致保护开关动作,使电梯进入保护状态。这种情况一旦发生,电梯会紧急停车,造成乘梯人员被困。

5、进门时很多人习惯用身体挡门,虽然没有危险,但如果你按的时间太长了,电梯控制部分会认为电梯已经出了故障。有可能会报警,甚至停下来。所以比较得体的做法,就是你进去以后,按著开门按钮。

特别需要提醒的是,有的人整个站在电梯门处,挡着电梯门,这样是很危险的。因为电梯里面是安全的,外面也是安全的。但是你站在这两个空间交界的地方,如说这个时候出现了,大家俗话叫做开门走车的情况,这个人就会受到剪切。所以这是一个非常危险的位置,不应该在这个交界的地方停留。

6、有些单位用一台货梯作为客梯用是不允许。

货梯和客梯的区别就是它的装潢,或者它的舒适感要差一些。振动和噪音的指标没有提出特殊的要求。另外有一种货梯,是绝对不能作客梯用的,就是超面积的。因为有时候工厂

里做的这种产品比较轻,它希望轿厢做得大一点,那么经过有关部门批准,这个轿厢面积比标准的要大。如果说这种货梯作客梯用时,就会出现超载。

二、电梯出现事故后安全常识。

1、发生坠落事故时,首先是固定自己的身体。这样发生撞击时,不会因为重心不稳而造成摔伤。其次是要运用电梯墙壁,作为脊椎的防护,紧贴墙壁,可以起到一定的保护作用。最重要的,可以借用膝盖弯曲来承受重击压力。这是因为韧带是人体惟一富含弹性的组织,比骨头更能承受压力。因此,背部紧贴电梯内壁,膝盖弯曲,脚尖踮起的保护动作才是正确的。

2、电梯蹾底,就是电梯的轿厢在控制系统全部失效的情况下,会错过首层平层位置而向下行驶,直至蹾到底坑的缓冲器上停止。这样的情况很少发生,可一旦发生后果会十分严重,巨大的惯性很可能会导致乘梯者全身骨折危及生命。其实如果电梯在下降过程中,突然急速下坠,电梯的安全保护装置会使电梯停下来。值得注意的是,电梯从开始坠落到停下的距离与电梯的载重有关,因此乘坐电梯决不能超载。

3、被困到电梯里的自救措施。紧急停止运行后,电梯还有好几套可靠周密的保护装置来保护乘客的安全,不必担心它会继续往下掉。突然停梯的原因有很多种,在不知晓原因之前,任何自己设法逃离的行为都属冒险举动。在刚刚被困时,如果电梯内没有报警电话,可拍门叫喊或用鞋子敲门。如果长时间被困,最安全的做法是保持镇定,保存体力,等待救援。

4、电梯管理人员应当如何解救被困人员。当发生电梯困人事故时,电梯管理人员......

黎明杀机12个屠夫介绍

bitch please ii eminem歌词!!!

<br>8 Mile Freestyle vs Lickty Spilt Lyrics

<br>[Lickty Spilt]

<br>This guy\'s a choke artist

<br>Ya catch a bad one

<br>Your better off shootin yourself

<br>With Papa Doc\'s handgun

<br>Climbin up this mountain your weak

<br>Ill lee you lost without a paddle

<br>Floatin shits creek

<br>

<br>You ain\'t Detroit, Im the D

<br>Your the new kid on the block

<br>Bout to get smacked back to the boonedocks

<br>Fuckin Nazi, this crowd ain\'t your type

<br>Take some real advice and form a group with Vanilla Ice

<br>And what I tell you, you better use it

<br>This guy\'s a hillbilly, this ain\'t Willie Nelson music

<br>

<br>Trailor trash, Ill choke you to your last breath

<br>And he you lookin foolish

<br>Like Cheddar Bob when he shot himself

<br>Silly Rabbit, I know why they call you that

<br>Cause you follow Future like you got carrots up his asscrack

<br>And when you actin up thats when you got jacked up

<br>And left stupid like Tina Turner when she got smacked up

<br>

<br>Ill crack your shoulder blade

<br>Youll get dropped so hard

<br>Elvis will start turnin in his gre

<br>I dont know why they let you out in the dark

<br>You need to take your white ass back across 8 mile

<br>To the trailor park

<br>

<br>[Eminem]

<br>

<br>This guy raps like his parents jerked him

<br>He sounds like Eric Sermon, the generic version

<br>This whole crowd looks suspicious

<br>Its all dudes in here, except for these bitches

<br>So Im a German, Eh

<br>Thats ok, you look like a fuckin worm with braids

<br>These Leaders of the Free World rookies

<br>Lookie, how can 6 dicks be pussies

<br>

<br>Talkin bout shits creek

<br>Bitch, you could be up piss creek

<br>With paddles this deep

<br>Your still gonna sink

<br>Your a disgrace

<br>Yeah, they call me Rabbit

<br>This is a turtle race

<br>

<br>He can\'t get with me spittin this shit

<br>Wickedly lickety shot

<br>Spickety spickety split lickety

<br>So Im gonna turn around with a great smile

<br>And walk my white ass back across 8 mile!

<br>

<br>

<br>

<br>

<br>8 Mile Freestyle Pt.II vs "Lotto" Lyrics

<br>

<br>[Lotto]

<br>(spoken)

<br>Yo, it\'s ime toget rid of this coward once and for all.

<br>I\'m sick of the motha fucka! Check this shit out!

<br>[Rap]

<br>I\'ll spit a racial slur, honky, sue me!

<br>This shit is a horror flick,

<br>but the black guy doesn\'t die in this movie!

<br>Fuckin\' wit Lotto, dawg, you gotta be kiddin!

<br>That makes me believe you really don\'t he an interest in livin!

<br>You think these niggas gonna feel the shit you say?

<br>I got a betta chance with joining the KKK.

<br>On some real shit, though, I like you

<br>That\'s why I didn\'t wanna he to be the one you commit sucide to

<br>Fuck \'Lotto,\'call me your leader

<br>I feel bad I gotta murder that dude from "Lee It To Beer"

<br>I used to like that show, now you got me to "fight back" mode

<br>But oh well, if you gotta go, then you gotta go!

<br>I hate to do this, I would love for this shit to last

<br>So I\'ll take pictures of my rear end so you won\'t forget my ass

<br>And all\'s well that ends well, ok?

<br>So I\'ll end this shit with a "FUCK you, but he a nice day!"

<br>

<br>

<br>[Eminem]

<br>Ward, I think you were a little hard on the Beer

<br>So was Eddie Haskal, Wally, and Ms. Cleer

<br>This guy keeps screamin\', he\'s paranoid!

<br>Quick, someone get his ass another steroid!

Talkin New York 歌词

黎明杀机12个屠夫介绍

1、陷阱杀手(The Trer):?埃文·迈克米伦

迈克米伦庄园的少爷,从小便受到父亲阿奇?迈克米伦严厉的教育,但艾文因崇拜其父治理企业的铁腕手段反而对他言听计从。两人联手经营矿场与铸造厂而使庄园成为辉煌的大企业。

但产能逐年攀升的同时,日渐年老的阿奇却开始担忧财产终将被外人侵占,为了保护庄园的秘密,他开始禁止矿场工人回乡探亲,又加长工时、苛扣工资,最后竟命令艾文将工人全数灭口,而艾文也毫不犹豫的?照办,将一百多名工人骗入矿坑后引爆,又一一虐杀被困在地底深处的生还者。

阿奇在命案发生后,离奇死于仓库的地下室,而艾文则从此消失无踪。其设计灵感来自**《十三号星期五》中的杰森·沃赫斯。

2、幽灵杀手(The Wraith):菲利普·奥乔莫

汽车天堂废车场的员工,起初为了追求新生活而来到城市,被废车场老板阿札罗夫雇用而从事修车与用粉碎机辗压废车的工作。然而有天他却在一辆即将报废的车上发现手脚被绑住的年轻人,奥乔莫将其释放后,年轻人遭到赶来的老板割喉杀死。

在他的质问之下,奥乔莫才得知原来阿札罗夫受雇于当地黑帮,帮忙处决他们的敌人与叛徒,而奥乔莫夹进粉碎机中的车辆几乎都装着人。崩溃的他当场将阿札罗夫丢进粉碎机中辗死,并在老板的头露出来时将其连同脊椎一同拉出,随后逃离现场。其后恶灵看上他无数的过去将其抓走,他几经折磨最终失去理智,成为杀手为恶灵追杀逃生者,恶灵更将老板的头颅与脊椎幻化成阿札罗夫之斧给予他做为武器。

其后恶灵看上他无数的过去将其抓走,他几经折磨最终失去理智,成为杀手为恶灵追杀逃生者,恶灵更将老板的头颅与脊椎幻化成阿札罗夫之斧给予他做 为武器。

3、电锯杀手(The Hillbilly):马克斯·汤普森

寒风农场的农场主马克思与伊芙琳·汤普森的儿子,因他天生便长著一张面目全非的丑脸而被父母厌恶,不仅不为他取名,甚至为了避人耳目而将他关在一间没有门的房间,每天仅借着墙壁上的小开口给他送饭。

然而某天他却意外逃了出去并杀死了父母,并开始以电锯在农场中能看到的一切人事物,寒风农场失去主人后遭到分割变卖,但却因电锯杀手的传闻而无人敢下手。其设计灵感来自**《德州电锯狂》。

4、护士(The Nurse):莎莉·史密森

克洛特斯·普瑞恩疯人院工作的护士,原本有着幸福美满的家庭,却因为丈夫安德鲁的死亡一夕变调,为了家计,莎莉不得已在疯人院做晚班看护。多年下来,莎莉在经历疯人院糟糕的环境最终精神崩溃,并萌生了净化疯人院的想法,于某天深夜将四名同事与五十名病患全数掐死。

清晨,到处徘徊的莎莉被早班的同事发现并送往医院,但他搭乘的救护车却在途中撞毁于树林中,而莎莉从此消失无踪。其设计灵感来自《寂静岭》中的怪物“护士”。

5、妖巫(The Hag):丽莎·谢伍德

黑水沼泽某传统村落的居民,曾与村中的耆老学过符文与咒术。

某天经过树林时遭到敌对的食人族村落,由于当时正值饥荒,丽莎与其他被抓到食人村的人们被囚禁在地窖中,日复一日的被削下身上的肉当作食物,许多人受不了腐臭的环境与折磨最终死去,然而丽莎却坚强的活了下来,并因强烈的恨意化身为怪物,最终挣脱手铐,将所有食人村的居民肢解食用。

等到村庄的救援队到达时,食人村仅剩下一堆尸体残肢,以及以鲜血所画的象征安宁与好运的符文。其设计灵感来自北美印第安人传说中的食人怪物温迪戈。

6、医生(The Doctor):赫曼·卡特

莱里疗养中心的医生。天资聪颖的他高中时就曾在心理学公报刊登文章,后在就读耶鲁大学时被美国中央情报局看上而加入伊利诺伊州的一处秘密设施,即莱里疗养中心。在那里,赫曼受到奥托·斯坦珀博士的指导,开始帮助CIA审问间谍,以及对囚犯与“病患”进行再教育课程,为了更有效的工作,赫曼甚至以电击治疗折磨。

而对外则以医生的身份掩人耳目,而因为美国当时处于冷战,被蒙蔽的社会大众因此无视他究竟有无医疗执照,直到某天疗养中心沉寂了一周的时间,才让警方发现包括斯坦珀博士在内的工作人员与患者们,已经全被赫曼电击拷问至死或成为植物人。其中还发现赫曼正在做控制心灵的研究,但最后却选择销毁中心的所有资料,掩蔽消息

7、女猎手(The Huntress):安娜

流传于俄罗斯红树林的地方传说,形象为一名半人半兽的高大女人,专杀男人并吃掉她们的女孩。实际上安娜原是一名女野人的女儿,幼时母亲因为冬天食物耗尽,不得不去危险的麋鹿,结果失手被它的角顶飞重伤,当时的安娜力气太小,只能看着母亲逐渐断气。

长大后的她凭借母亲教导的生存技巧成为一名危险的女猎人,由于她从未与母亲以外的人类相处,便将野兽与闯进领地的旅人们一视同仁,当作猎物杀死。

但或许是出于与母亲的记忆,每次安娜都会将小女孩带回家中,戴上动物面具并用木头玩具取悦她们,然而安娜并不懂得照顾小孩,导致女孩最终都因饥饿与寒冷而死,安娜不得不开始攻击附近村落以抢夺女孩。

她的事迹最终变成了地方传说,直到第一次世界大战爆发后,附近的居民都撤退四散,而安娜在留下一整队德军兵团的传说后也就此消失。其外观造型的灵感来自于美国费尔法克斯县的都市传说兔子人,游戏中逃生者可以听到女猎人哼著俄罗斯摇篮曲“баюшкибаю”(BayushkiBayu)。

8、小丑(The Clown):肯尼斯·切斯

肯尼斯·切斯来自单亲家庭,与酗酒的父亲长年不和。在日复一日的上学生涯中,肯尼斯偶然对路上的羽毛起了兴趣,便与牙医买来剂捕捉鸟类,并由此开始了杀死小动物收集其身体部位的兴趣。

直到21岁那年,父亲竟在他的收藏品中发现了一根男人的手指,发觉事情败露的肯尼斯逃往外地,来到了一家巡回马戏团工作并改名杰佛瑞·霍克,并很快的融入马戏团的大家庭中。

然而在十年的巡回生活里,肯尼斯却在社交生活中染上了酒瘾与毒瘾,后来更重拾了过去的兴趣,以巡回生活为掩护开始偷走同事的衣服,打扮成小丑受害者,将他们虐杀后收集其手指。最终肯尼斯在逃离马戏团之后成为了有名的犯,因此被看上而在某次来到坎贝尔神父的教堂表演时进入了恶灵的世界。

9、怨灵(The Spirit):山冈凛

就读日本香川-高松大学的女大学生。山冈家的祖先为武士,原本是富有的家庭,但却因欠了一大笔债而家道中落,再加上凛的母亲病倒,使她不得不开始兼职以减轻家庭的重担。

而父亲为了还债也开始加班期望获得晋升,长期精神不济的情况下又受到恶灵的搅扰的父亲,在被公司解雇后最终绝望,拿起武士刀自己的妻子,刚好回家的凛也难逃一劫,被父亲斩断四肢扔下楼梯而死。恶灵原本想以父亲作为杀手,但因为看上了凛强烈的复仇欲望,将父亲的武士刀给了她,凛因此成了杀手“怨灵”。

10、军团(The Legion):弗兰克·莫里森

弗兰克原是出生于加拿大卡尔加里的少年,六岁时被安排至寄养家庭,但却因性格暴躁,经常打架闹事而辗转在好几个家庭之间借住。

十六岁时被送到奥蒙德的安德鲁斯家,原本弗兰克并不喜欢陈旧又气候阴暗的奥蒙德,打算转到另一个寄养家庭,但在认识了茱莉、乔伊、苏西三位朋友后打消了这个念头,四名不良少年组成了帮派“军团”,开始戴上面具以霸凌、偷窃、破坏公物为乐。

某天弗兰克遭到商店解雇,他一气之下便联合朋友们趁夜砸坏商店,却没想到茱莉被还在留守的清洁工抓住,弗兰克为了救她意外杀死了清洁工,事后他害怕三人泄漏此事,便强迫他们每人都在清洁工身上刺一刀,并将尸体搬到树林间掩埋,期间四人受到恶灵的引导,最终迷失于恶灵的世界中成为杀手。

11、瘟疫(The Plague):亚迪莉丝

巴比伦神庙的女祭司。五岁时即被家人遗弃于神庙,不久被庙中的祭司收留并作为净化仪式的助手抚养长大。成年后巴比伦爆发了瘟疫,祭司们全数病倒,只能将主持仪式的重任交给亚迪莉丝,正当备感焦虑之时,她却意外发现祭司房间后的地穴,并在其中找到了一尊戴满珠宝的雕像。

为了安抚恐慌的民众,亚迪莉丝戴上了雕像上的装饰品,以自身的美貌与庄严得到了信徒们的支持,成为巴比伦的高阶祭司。然而这并不能阻止瘟疫的扩散,就连亚迪莉丝也染上了疾病,不得不戴上面纱以遮蔽腐烂、脓肿的身体,亚迪莉丝为了安抚神灵,带着染病的信徒们离开城市,最终全死于乌拉尔图的一处洞穴中。

12、鬼武士(The Oni):山冈火山

出身山罔家族的武士,也是最早被恶灵蛊惑而变成杀手的山冈家祖先。年轻时与父亲在提拔平民为武士的事上意见相左,认为这是对传统的玷污,遂偷了他的刀并踏上了诛杀冒牌武士的旅途。然而他的手法极为惨忍,许多被击败的对手甚至被拔去发髻羞辱,令当地的领主愤而以“鬼山冈”的绰号怒骂他与山罔家族。

火山的父亲不得不出面清扫门户,亲自与火山决战,却一时犹豫反而惨死于他的金棒下。误杀父亲的火山因此暴怒失控,单枪匹马攻进了领主的城镇将他杀死,没想到却被愤怒的当地居民围困,最终山冈被虐杀而死。

《黎明杀机》15个屠夫的背景介绍是什么?

歌曲名:Talkin New York

歌手:Bob Dylan

专辑:Bob Dylan

Bob Dylan"Talkin' New York"歌词

Ramblin' outa the wild west

Lein' the towns i love the best

Thought i'd seen some ups and down

"til i come into new york town

People goin' down to the ground

Buildings goin' up to the sky.

Wintertime in new york town

The wind blowin' snow around

Walk around with nowhere to go,

Somebody could freeze right to the bone

I froze right to the bone

New york times said it was the coldest winter in seven years;

I didn't feel so cold then

I swung on to my old guitar

Grabbed hold of a subway car

And after a rocking, reeling, rolling ride,

I landed up on the downtown side

Greenwich village

I walked down there and ended up

In one of them coffee-houses on the block.

Got on the stage to sing and play,

Man there said, "come back some other day

You sound like a hillbilly;

We want folk singer here

Well, i got a harmonica job, begun to play

Blowin' my lungs out for a dollar a day.

I blowed inside out and upside down.

The man there said he loved m' sound,

He was rin' about how he loved m' sound

Dollar a day's worth

And after weeks and weeks of hangin' around

I finally got a job in new york town,

In a bigger place, bigger money too,

Even joined the union and paid m' dues

Now, a very great man once said

That some people rob you with a fountain pen

It don't take too long to find out

Just what he was talkin' about

A lot of people don't he much food on their table,

But they got a lot of forks n' knives

And they gotta cut somethin'

So one mornin' when the sun was warm

I rambled out of new york town.

Pulled my cap down over my eyes

And headed out for the western skies

So long, new york

Howdy, east orange

://music.baidu/song/1204017

黎明杀机四位屠夫的故事

1、陷阱杀手(The Trer): 埃文·迈克米伦

迈克米伦庄园的少爷,从小便受到父亲阿奇?迈克米伦严厉的教育,但艾文因崇拜其父治理企业的铁腕手段反而对他言听计从。两人联手经营矿场与铸造厂而使庄园成为辉煌的大企业。

但产能逐年攀升的同时,日渐年老的阿奇却开始担忧财产终将被外人侵占,为了保护庄园的秘密,他开始禁止矿场工人回乡探亲,又加长工时、苛扣工资,最后竟命令艾文将工人全数灭口,而艾文也毫不犹豫的照办,将一百多名工人骗入矿坑后引爆,又一一虐杀被困在地底深处的生还者。

阿奇在命案发生后,离奇死于仓库的地下室,而艾文则从此消失无踪。其设计灵感来自**《十三号星期五》中的杰森·沃赫斯。

2、幽灵杀手(The Wraith):菲利普·奥乔莫

汽车天堂废车场的员工,起初为了追求新生活而来到城市,被废车场老板阿札罗夫雇用而从事修车与用粉碎机辗压废车的工作。

然而有天他却在一辆即将报废的车上发现手脚被绑住的年轻人,奥乔莫将其释放后,年轻人遭到赶来的老板割喉杀死。

在他的质问之下,奥乔莫才得知原来阿札罗夫受雇于当地黑帮,帮忙处决他们的敌人与叛徒,而奥乔莫夹进粉碎机中的车辆几乎都装着人。

崩溃的他当场将阿札罗夫丢进粉碎机中辗死,并在老板的头露出来时将其连同脊椎一同拉出,随后逃离现场。

其后恶灵看上他无数的过去将其抓走,他几经折磨最终失去理智,成为杀手为恶灵追杀逃生者,恶灵更将老板的头颅与脊椎幻化成阿札罗夫之斧给予他做为武器。

3、电锯杀手(The Hillbilly):马克斯·汤普森

寒风农场的农场主马克思与伊芙琳·汤普森的儿子,因他天生便长著一张面目全非的丑脸而被父母厌恶,不仅不为他取名,甚至为了避人耳目而将他关在一间没有门的房间,每天仅借着墙壁上的小开口给他送饭。

然而某天他却意外逃了出去并杀死了父母,并开始以电锯在农场中能看到的一切人事物,寒风农场失去主人后遭到分割变卖,但却因电锯杀手的传闻而无人敢下手。其设计灵感来自**《德州电锯狂》。

4、护士(The Nurse):莎莉·史密森

克洛特斯·普瑞恩疯人院工作的护士,原本有着幸福美满的家庭,却因为丈夫安德鲁的死亡一夕变调,为了家计,莎莉不得已在疯人院做晚班看护。

多年下来,莎莉在经历疯人院糟糕的环境最终精神崩溃,并萌生了净化疯人院的想法,于某天深夜将四名同事与五十名病患全数掐死。

清晨,到处徘徊的莎莉被早班的同事发现并送往医院,但他搭乘的救护车却在途中撞毁于树林中,而莎莉从此消失无踪。其设计灵感来自《寂静岭》中的怪物“护士”。

5、妖巫(The Hag):丽莎·谢伍德

黑水沼泽某传统村落的居民,曾与村中的耆老学过符文与咒术。某天经过树林时遭到敌对的食人族村落,由于当时正值饥荒,丽莎与其他被抓到食人村的人们被囚禁在地窖中;

日复一日的被削下身上的肉当作食物,许多人受不了腐臭的环境与折磨最终死去,然而丽莎却坚强的活了下来,并因强烈的恨意化身为怪物,最终挣脱手铐,将所有食人村的居民肢解食用。

等到村庄的救援队到达时,食人村仅剩下一堆尸体残肢,以及以鲜血所画的象征安宁与好运的符文。其设计灵感来自北美印第安人传说中的食人怪物温迪戈。

6、医生(The Doctor):赫曼·卡特

莱里疗养中心的医生。天资聪颖的他高中时就曾在心理学公报刊登文章,后在就读耶鲁大学时被美国中央情报局看上而加入伊利诺伊州的一处秘密设施,即莱里疗养中心。

在那里,赫曼受到奥托·斯坦珀博士的指导,开始帮助CIA审问间谍,以及对囚犯与“病患”进行再教育课程,为了更有效的工作,赫曼甚至以电击治疗折磨。

而对外则以医生的身份掩人耳目,而因为美国当时处于冷战,被蒙蔽的社会大众因此无视他究竟有无医疗执照,直到某天疗养中心沉寂了一周的时间,才让警方发现包括斯坦珀博士在内的工作人员与患者们,已经全被赫曼电击拷问至死或成为植物人。

其中还发现赫曼正在做控制心灵的研究,但最后却选择销毁中心的所有资料,掩蔽消息。

7、女猎手(The Huntress):安娜

流传于俄罗斯红树林的地方传说,形象为一名半人半兽的高大女人,专杀男人并吃掉她们的女孩。实际上安娜原是一名女野人的女儿,幼时母亲因为冬天食物耗尽,不得不去危险的麋鹿,结果失手被它的角顶飞重伤,当时的安娜力气太小,只能看着母亲逐渐断气。

长大后的她凭借母亲教导的生存技巧成为一名危险的女猎人,由于她从未与母亲以外的人类相处,便将野兽与闯进领地的旅人们一视同仁,当作猎物杀死。

但或许是出于与母亲的记忆,每次安娜都会将小女孩带回家中,戴上动物面具并用木头玩具取悦她们,然而安娜并不懂得照顾小孩,导致女孩最终都因饥饿与寒冷而死,安娜不得不开始攻击附近村落以抢夺女孩。

她的事迹最终变成了地方传说,直到第一次世界大战爆发后,附近的居民都撤退四散,而安娜在留下一整队德军兵团的传说后也就此消失。

其外观造型的灵感来自于美国费尔法克斯县的都市传说兔子人,游戏中逃生者可以听到女猎人哼著俄罗斯摇篮曲“баюшкибаю”(BayushkiBayu)。

8、小丑(The Clown):肯尼斯·切斯

肯尼斯·切斯来自单亲家庭,与酗酒的父亲长年不和。在日复一日的上学生涯中,肯尼斯偶然对路上的羽毛起了兴趣,便与牙医买来剂捕捉鸟类,并由此开始了杀死小动物收集其身体部位的兴趣。

直到21岁那年,父亲竟在他的收藏品中发现了一根男人的手指,发觉事情败露的肯尼斯逃往外地,来到了一家巡回马戏团工作并改名杰佛瑞·霍克,并很快的融入马戏团的大家庭中;

然而在十年的巡回生活里,肯尼斯却在社交生活中染上了酒瘾与毒瘾,后来更重拾了过去的兴趣,以巡回生活为掩护开始偷走同事的衣服,打扮成小丑受害者,将他们虐杀后收集其手指。

最终肯尼斯在逃离马戏团之后成为了有名的犯,因此被看上而在某次来到坎贝尔神父的教堂表演时进入了恶灵的世界。

9、怨灵(The Spirit):山冈凛

就读日本香川-高松大学的女大学生。山冈家的祖先为武士,原本是富有的家庭,但却因欠了一大笔债而家道中落,再加上凛的母亲病倒,使她不得不开始兼职以减轻家庭的重担。

而父亲为了还债也开始加班期望获得晋升,长期精神不济的情况下又受到恶灵的搅扰的父亲,在被公司解雇后最终绝望,拿起武士刀自己的妻子,刚好回家的凛也难逃一劫,被父亲斩断四肢扔下楼梯而死。

恶灵原本想以父亲作为杀手,但因为看上了凛强烈的复仇欲望,将父亲的武士刀给了她,凛因此成了杀手“怨灵”。

10、军团(The Legion):弗兰克·莫里森

弗兰克原是出生于加拿大卡尔加里的少年,六岁时被安排至寄养家庭,但却因性格暴躁,经常打架闹事而辗转在好几个家庭之间借住,十六岁时被送到奥蒙德的安德鲁斯家;

原本弗兰克并不喜欢陈旧又气候阴暗的奥蒙德,打算转到另一个寄养家庭,但在认识了茱莉、乔伊、苏西三位朋友后打消了这个念头,四名不良少年组成了帮派“军团”,开始戴上面具以霸凌、偷窃、破坏公物为乐。

某天弗兰克遭到商店解雇,他一气之下便联合朋友们趁夜砸坏商店,却没想到茱莉被还在留守的清洁工抓住,弗兰克为了救她意外杀死了清洁工;

事后他害怕三人泄漏此事,便强迫他们每人都在清洁工身上刺一刀,并将尸体搬到树林间掩埋,期间四人受到恶灵的引导,最终迷失于恶灵的世界中成为杀手。

11、瘟疫(The Plague):亚迪莉丝

巴比伦神庙的女祭司。五岁时即被家人遗弃于神庙,不久被庙中的祭司收留并作为净化仪式的助手抚养长大。

成年后巴比伦爆发了瘟疫,祭司们全数病倒,只能将主持仪式的重任交给亚迪莉丝,正当备感焦虑之时,她却意外发现祭司房间后的地穴,并在其中找到了一尊戴满珠宝的雕像。

为了安抚恐慌的民众,亚迪莉丝戴上了雕像上的装饰品,以自身的美貌与庄严得到了信徒们的支持,成为巴比伦的高阶祭司。

然而这并不能阻止瘟疫的扩散,就连亚迪莉丝也染上了疾病,不得不戴上面纱以遮蔽腐烂、脓肿的身体,亚迪莉丝为了安抚神灵,带着染病的信徒们离开城市,最终全死于乌拉尔图的一处洞穴中。

12、鬼武士(The Oni):山冈火山

出身山罔家族的武士,也是最早被恶灵蛊惑而变成杀手的山冈家祖先。年轻时与父亲在提拔平民为武士的事上意见相左,认为这是对传统的玷污,遂偷了他的刀并踏上了诛杀冒牌武士的旅途。

然而他的手法极为惨忍,许多被击败的对手甚至被拔去发髻羞辱,令当地的领主愤而以“鬼山冈”的绰号怒骂他与山罔家族。

火山的父亲不得不出面清扫门户,亲自与火山决战,却一时犹豫反而惨死于他的金棒下。误杀父亲的火山因此暴怒失控,单枪匹马攻进了领主的城镇将他杀死,没想到却被愤怒的当地居民围困,最终山冈被虐杀而死。

离奇的是火山的遗体与金棒却在之后突然消失,而镇上也开始流传恶鬼出没的传说。

13、鬼(The Shape):迈克尔·迈尔斯

黎明杀机第一位版权DLC角色,美国恐怖**《月光光心慌慌》中的魔,游戏中仅用18年的第一部人物设定,并未照后来的续集设定他与劳丽是兄妹。

**中年仅六岁便杀死自己的姐姐而被送往院,二十年后回到哈登菲尔德(Haddonfield)大开杀戒,而**中的女主角劳丽·斯特罗德便是遭到追杀的受害者之一。

14、食人魔(The Cannibal):布巴·索耶

美国恐怖**《德州电锯狂》中的魔“人皮脸”(LeatherFace),名字用1986年续集《德州电锯狂2》中提到的布巴·“少年”·索耶。

居住在偏远乡村的一间农庄,为了生存所有经过的旅客,和家人一起食用人肉。

15、梦魇(The Nightmare):弗莱迪·克鲁格

美国恐怖**《猛鬼街》里的梦中杀手,服装造型自2010年重启**《新猛鬼街》。

弗莱迪原是春木镇(SpringWood)的榆树街一名恋童癖犯,因残杀多名孩童,被受害者家长们放火烧死,数年后成为怨灵,开始进入孩子们的梦中追杀他们。一旦受害者在自己的梦中被杀,则现实生活也会死亡。

乡村音乐的主题和内容?

1.屠夫

捕兽者The Trer:夹子屠夫

 本名埃文.麦克米兰。富二代。白人男性。

非常崇拜父亲,父亲说什么他都会去做,但父亲也因为年纪大了,心理健康慢慢的不正常。

某天父亲叫他带着一百个人进入黑暗的隧道并引爆,他就照做了。

埃文(陷阱哥)最后的下场并不清楚,但他的父亲被发现死在自己仓库的地下室。

2.怨灵The Wraith:隐身屠夫

本名菲利浦.欧朱摩。汽车厂员工。黑人男性。

移民到美国的新移民,拥有老婆和孩子的他很的得到的修车厂的一份新工作。

他的工作主要是利用碾压器把废弃汽车压扁。

由于老板收了黑道的好处,在怨灵哥不知道的情况下他杀(碾)了很多人。

直到某天他发现事情不对劲(发现了血迹),跑去质问老板才得知事实。

直接暴走的他把老板丢到碾压器里面,并把他的头骨连脊椎拉了出来做成他的武器。

在杀了他的老板后,怨灵哥后来也是下落不明。

3.乡巴佬The Hillbilly:电锯屠夫

本名不详,姓氏汤普森。白人男性。

冷风农场主人麦克斯.汤普森和伊夫林.汤普森的儿子。

由于其貌丑陋,被野蛮的父母认为是家族的耻辱,于是把他关在四面都是墙的房间中。

他与外界的联系就只有一个小小的送饭洞口。

长时间的独立隔绝导致了他的凶残性,和对会移动的东西的施暴性。

最后他找到方法逃脱并用槌子和电锯杀了他的父母,并对农场中会跑动的生物施以肢解。

4.女护士The Nurse:护士屠夫

本名莎莉史密森。护士。白人女性。

莎莉史密森来到了小镇上,怀揣着住在伴有孩子欢声笑语、由丈夫安德鲁建造

的小木屋里的梦想。但命运不怀好意毁灭了莎莉想象中的美好生活。安德鲁是

一个伐木工人——这个工作伴随着危险。有一天,安德鲁的领班来拜访莎莉,

带来一个让她的生活翻天覆地的消息:她从此以后是一个人了。(丈夫出事故

死掉了)家里没有食物了,而她唯一能找到的工作是在克罗托斯普瑞恩疯人院。

没有人会去那里找工作除非像莎莉一样走投无路。没有经过培训,莎莉从底层开

始,工作了二十年仍没有升职。相反,她的精神已经到了极限。二十年,她见过

了太多恐怖的事情,可怕的回忆每晚都在折磨她。被不知底线的疯子们言语上,

肉体上折磨,莎莉只能默默地承受这些外来的虐待。终于有一天,她再也受不了

了,她产生了要净化这个扭曲的疯人院的想法。她做了她觉得必要的事情。九月

的某一天早上,当其他的同事们来到疯人院,他们发现五十多个病人死在了病床上。

莎莉是在场的唯一一个人,在现场徘徊着。只有她知道发生了什么,不过看起来一

些病人是被掐死的,脖子周围留下了伤痕。

以上转自百度百科。求纳O(∩_∩)O~~

谁帮我写一段关于爵士乐的英文介绍

乡村音乐(Country Music)出现于20世纪20年代,它来源于美国南方农业地区的民间音乐,最早受到英国传统民谣的影响而发展起来。最早的乡村音乐是传统的山区音乐(Hillbilly Music),它的曲调简单、节奏平稳,带有叙述性,与城市里的伤感流行歌曲不同的是,它带有较浓的乡土气息。山区音乐的歌词主要以家乡、失恋、流浪、宗教信仰为题材,演唱通常以独唱为主,有时也加入伴唱,伴奏乐器以提琴、班卓琴、吉他等(50年代中期以前,传统的乡村音乐乐队里没有鼓)为代表。演出场所主要在家里、教堂和乡村集市,有时也参加地区性巡回演出。它与大城市的文化生活相隔离,一直处于自我封闭状态。

20世纪20年代,有些电台为了迎合农村听众的口味,开始播放山区音乐,如芝加哥的"民族谷仓舞"(National Barn Dance)节目(1924),纳什维尔的"老式大剧院"(Grand old Opry)节目(1925)等,很受欢迎。这种做法鼓励了山区音乐的乐师去电台录音,也激发了唱片公司去各地发现人才、录制唱片。从此,山区音乐开始汇入美国流行音乐的主流,并涌现出最早的一批乡村歌手,如吉米·罗杰斯和"卡特家族"演唱组。

吉米·罗杰斯(Jimmie Rodgers,18~1933)融合了布鲁斯、白人山区歌谣(Yodels)以及民谣(Folk)等多种音乐风格,被认为是乡村音乐的开创者,并冠以"乡村音乐之王"的称号。他的歌唱从容、悠然,并且发展了一种独特的、真声来回转换的山区民间唱法:"蓝色的约得尔唱法"(blue yodel)。虽然他一生饱受肺病的折磨,但是始终没有放弃过对乡村音乐的执著。从1929年,到1933年罗杰斯共录制了一百一十首歌曲,1933年5月26 日,在刚录完音的两天后正值盛年的吉米·罗杰斯因病情恶化而去世。

"卡特家族"(The Carter family,由Alvin Carter,1891~1960,和他的妻子、弟媳妇三人组成)以一种安逸、谐和的曲风和着眼于家园、上帝和信仰等题材而赢得了听众的喜爱。对于像"卡特家族"这样的艺人,演唱只是一种业余的谋生方式。但是在乡村音乐的初始阶段,他们的确为乡村音乐的发展做出了巨大的贡献,同时也为早期乡村音乐留下了宝贵的录音资料。

Jazz

I INTRODUCTION

Jazz, type of music first developed by African Americans around the first decade of the 20th century that has an identifiable history and distinct stylistic evolution. Jazz grew up alongside the blues and popular music, and all these genres overlap in many ways. However, critics generally agree about whether artists fall squarely in one camp or another.

II CHARACTERISTICS

Since its beginnings jazz has branched out into so many styles that no single description fits all of them accurately. A few generalizations can be made, however, bearing in mind that for all of them, exceptions can be cited.

Performers of jazz improvise within the conventions of their chosen style. Typically, the improvisation is accompanied by the repeated chord progression of a popular song or an original composition. Instrumentalists emulate black vocal styles, including the use of glissandi (sliding movements that smoothly change the pitch), nuances of pitch (including blue notes, the “bent” notes that are played or sung slightly lower than the major scale), and tonal effects such as growls and wails.

In striving to develop a personal sound, or tone color (an idiosyncratic sense of rhythm and form and an individual style of execution), performers create rhythms characterized by constant syncopation (the placing of accents in unexpected places, usually on the weaker beat) and by swing. Swing can be defined as a sensation of momentum in which a melody is alternately heard together with, then slightly at variance with, the regular beat. Written scores, if present, are often used merely as guides, providing structure within which improvisation occurs. The typical instrumentation begins with a rhythm section consisting of piano, string bass, drums, and optional guitar, to which may be added any number of wind instruments. In big bands the wind instruments are grouped into three sections: saxophones, trombones, and trumpets.

Although exceptions occur in some styles, most jazz is based on the principle that an infinite number of melodies can fit the chord progressions of any song. The musician improvises new melodies that fit the chord progression, which is repeated again and again as each soloist is featured, for as many choruses as desired.

Although pieces with many different formal patterns are used for jazz improvisation, two formal patterns in particular are frequently found in songs used for jazz. One is the AABA form of popular-song choruses, which typically consists of 32 measures in ? meter, divided into four 8-measure sections: section A, a repetition of section A, section B (the “bridge” or “release,” often beginning in a new key), and a repetition of section A. The second form, with roots deep in African American folk music, is the 12-bar blues form. Unlike the 32-bar AABA form, blues songs he a fairly standardized chord progression.

III ORIGINS

Jazz is rooted in the mingled musical traditions of African Americans. These include traits surviving from West African music; black folk music forms developed in the Americas; European popular and light classical music of the 18th and 19th centuries; and later popular music forms influenced by black music or produced by black composers. Among the surviving African traits are vocal styles that include great freedom of vocal color; a tradition of improvisation; call-and-response patterns; and rhythmic complexity, both in the syncopation of individual melodic lines and in the conflicting rhythms played by different members of an ensemble. Black folk music forms include field hollers, rowing chants, lullabies, and later, spirituals and blues (see African American Music).

European music contributed specific styles and forms: hymns, marches, waltzes, quadrilles, and other dance music, as well as light theatrical music and Italian operatic music. European music also introduced theoretical elements, in particular, harmony, both as a vocabulary of chords and as a concept related to musical form. (Much of the European influence was absorbed through private lessons in European music, even when the black musicians so trained could only find work in seedy entertainment districts and on Mississippi riverboats.)

Black-influenced elements of popular music that contributed to jazz include the banjo music of the minstrel shows (derived from the banjo music of sles), the syncopated rhythmic patterns of African-influenced Latin American music (heard in southern U.S. cities), the barrelhouse piano styles of tern musicians in the Midwest, and the marches played by black brass bands in the late 19th century. Near the end of the 19th century, another influential genre emerged. This was ragtime, a composed music that combined many elements, including syncopated rhythms (from banjo music and other black sources) and the harmonic contrasts and formal patterns of European marches. After 1910 bandleader W. C. Handy took another influential form, the blues, and broke its strict oral tradition by publishing his original blues songs. (Fored by jazz musicians, Handy’s songs found one of their greatest interpreters in the 1920s in blues singer Bessie Smith, who recorded many of them.)

The merging of these multiple influences into jazz is difficult to reconstruct because it occurred before the existence of recording, which has provided valuable documentation. Of course, individual musicians had varying backgrounds and few people were directly exposed to all of these influences. For example, most jazz artists were and are city dwellers and might he only known rural black forms indirectly.

IV HISTORY

Most early jazz was played in small dance bands or by solo pianists. Besides ragtime and marches, the repertoire included all kinds of popular dance music and blues. The bands typically played at picnics, weddings, parades, and funerals. Characteristically, the bands played dirges on the way to funerals and lively marches on the way back. Blues and ragtime had arisen independently just a few years before jazz and continued to exist alongside it, influencing the style and forms of jazz and providing important vehicles for jazz improvisation.

A New Orleans Jazz

Shortly after the turn of the 20th century, the earliest fully documented jazz style emerged and centered in New Orleans, Louisiana. In this style the cornet, trumpet, or violin carried the melody, the clarinet played florid countermelodies, and the trombone played rhythmic slides and sounded the root notes of chords or simple harmonies. Below this basic trio the guitar or banjo sounded the chords, along with a piano, if ailable; a string bass (or tuba for marching parades) provided a bass line; and drums supplied the rhythmic accompaniment. In theory, these roles were the same as in other kinds of music—it was the addition of improvisation, along with elements of other black music such as blues and ragtime, that made jazz unique.

A musician named Buddy Bolden ears to he led some bands that influenced early jazz musicians, but this music and its sound he been lost to posterity. Although some jazz influences can be heard on a few early phonograph records, not until 1917 did a jazz band record. This band, a group of white New Orleans musicians called The Original Dixieland Jazz Band, created a sensation overseas and in the United States. Among the band’s many successors, two groups emerged in the early 1920s that were particularly celebrated: the New Orleans Rhythm Kings and the Creole Jazz Band, the latter of which was led by cornetist King Oliver, an influential stylist. The series of recordings made by Oliver’s band are often considered the most significant jazz recordings by a New Orleans group. Other leading New Orleans musicians included trumpeters Bunk Johnson and Freddie Keppard, soprano saxophonist and clarinetist Sidney Bechet, drummer Warren “Baby” Dodds, and pianist and composer Jelly Roll Morton. The most influential jazz musician nurtured in New Orleans, however, was King Oliver’s second trumpeter, Louis Armstrong.

B Armstrong’s Impact

Armstrong was a dazzling improviser, technically, emotionally, and intellectually. He and his generation changed the format of jazz by bringing the soloist to the forefront, and within his recording groups, the Hot Five and the Hot Seven, he demonstrated that jazz improvisation could go far beyond simply ornamenting the melody—he created new melodies based on the chords of the initial tune. He also set a standard for later jazz singers, not only by the way he altered the words and melodies of songs, but also by improvising without words, like an instrument. This form of vocal improvisation is known as scat singing.

C Chicago and New York City

For jazz, the 1920s was a decade of great experimentation and discovery. Many New Orleans musicians, including Armstrong, migrated to Chicago, Illinois, influencing local musicians and stimulating the evolution of the Chicago style. This style was derived from the New Orleans style but emphasized soloists, often added saxophone to the instrumentation, and usually produced tenser rhythms and more complicated textures. Instrumentalists working in Chicago or influenced by the Chicago style included trombonist Jack Teagarden, banjoist and guitarist Eddie Condon, drummer Gene Krupa, and clarinetist Benny Goodman. Also active in Chicago was Bix Beiderbecke, whose lyrical roach to the cornet provided an alternative to Armstrong’s brura trumpet style. Many Chicago musicians eventually settled in New York City, another major center for jazz in the 1920s.

D Jazz Piano

Another vehicle for the development of jazz in the 1920s was piano music. The Harlem section of New York City became the center of a highly technical, hard-driving solo style known as stride piano. The master of this roach in the early 1920s was James P. Johnson, but it was Johnson’s protégé Fats Waller—a talented vocalist and entertainer as well—who became by far the most popular performer of this idiom.

A second piano style to develop in the 1920s was boogie-woogie. A form of blues played on the piano, it consists of a short, sharply accented bass pattern played repeatedly by the left hand while the right hand plays freely, using a variety of rhythms. Boogie-woogie became especially popular in the 1930s and 1940s. Leading boogie-woogie pianists included Meade Lux Lewis, Albert Ammons, Pete Johnson, and Pine Top Smith.

The most brilliant pianist of the 1920s, comparable to Armstrong in sheer innovation and present on some of his most influential recordings, was Earl “Fatha” Hines, a Chicago-nurtured virtuoso considered to possess a wild, unpredictable imagination. His style, combined with the smoother roach of Waller, influenced most pianists of the next generation—notably Teddy Wilson, who was featured with Goodman’s band in the 1930s, and Art Tatum, who performed mostly as a soloist and was regarded with awe for his virtuosity and sophisticated harmonic sense.

E The Big-Band Era

Also during the 1920s, large groups of jazz musicians began to play together, after the model of society dance bands. These were the so-called big bands, which became so popular in the 1930s and early 1940s that the period was known as the swing era. One major development in the emergence of the swing era was a rhythmic change that smoothed the two-beat rhythms of some early bands into a more flowing four beats to the bar. Musicians also developed the use of short melodic patterns, called riffs, in call-and-response patterns. To facilitate this procedure, orchestras were divided into instrumental sections, each with its own riffs, and opportunities were provided for musicians to play solos.

The development of the big band as a jazz medium was strongly influenced by the achievements of Duke Ellington and Fletcher Henderson. Henderson’s arranger, Don Redman, and later Henderson himself, introduced written jazz scores that were widely admired for their effort to capture the quality of improvisation that characterized the music of smaller ensembles. To achieve this improvisation, Redman and Henderson were aided by gifted soloists such as tenor saxophonist Coleman Hawkins and by Armstrong, who played in Henderson’s band during 1924 and 1925.

Ellington led a band at the Cotton Club in New York City during the late 1920s. Continuing to direct his orchestra until his death in 14, he composed colorful experimental concert pieces ranging in length, from the three-minute “Ko-Ko” (1940) to the hourlong Black, Brown, and Beige (1943), as well as songs such as “Solitude” and “Sophisticated Lady.” More complex than Henderson’s music, Ellington’s music made his orchestra a cohesive ensemble, with solos written for the unique qualities of specific instruments and players. Other black bands that were popular among musicians and audiences were led by Jimmie Lunceford, Chick Webb, and Cab Calloway.

A different style of big-band jazz was developed in Kansas City, Missouri, during the mid-1930s and was epitomized by the band of Count Basie. Originally assembled in Kansas City, Basie’s band reflected that region’s emphasis on improvisation, keeping the prepared passages relatively short and simple. The wind instruments in his band exchanged ensemble riffs in a free, strongly rhythmical interplay, with pauses to accommodate instrumental solos. Basie’s tenor saxophonist Lester Young, in particular, played with a rhythmic freedom rarely arent in the improvisations of soloists from other bands. Young’s delicate tone and long, flowing melodies, laced with an occasional ant-garde honk or gurgle, opened up a whole new roach, just as Armstrong’s trumpet and cornet playing had done in the 1920s.

Other trendsetters of the late 1930s were trumpeter Roy Eldridge, electric guitarist Charlie Christian, drummer Kenny Clarke, and vibraphonist Lionel Hampton. Jazz singing in the 1930s became increasingly flexible and stylized. Ivie Anderson, Mildred Bailey, Ella Fitzgerald, and, above all, Billie Holiday were among the leading singers. Europeans also became more active in jazz during this time. Christian, for example, was influenced by Belgian guitarist Django Reinhardt, whose brilliant recordings were ailable in the United States.

F Interplay with Popular and Classical Music

The pioneering efforts of Armstrong, Ellington, Henderson, and others made jazz a dominant influence on American music during the 1920s and 1930s. Popular musicians such as bandleader Paul Whiteman used some of the more obvious rhythmic and melodic devices of jazz, although with less improvisational freedom and skill than were displayed in the music of the major jazz players. Attempting to fuse jazz with light classical music, Whiteman’s orchestra also premiered jazzy symphonic pieces by American composers such as George Gershwin. Closer to the authentic jazz tradition of improvisation and solo virtuosity was the music played by the bands of Benny Goodman (who used many of Henderson’s arrangements), Gene Krupa, and Harry James.

Since the days of ragtime, jazz composers had admired classical music. A number of swing-era musicians “jazzed the classics” in works such as “Bach Goes to Town” (written by Alec Wilder and recorded by Goodman) and “Ebony Rhapsody” (recorded by Ellington and others). Composers of concert music, in turn, paid tribute to jazz in works such as Contrasts (1938, commissioned by Goodman) by Hungarian Béla Bartók and Ebony Concerto (1945, commissioned by Woody Herman) by Russian-born Igor Strinsky. Other composers, such as Aaron Copland, an American, and Darius Milhaud, a Frenchman, acknowledged the spirit of jazz in their works.

G The 1940s and the Postwar Decades

The preeminently influential jazz musician of the 1940s was Charlie Parker, who became the leader of a new style known usually as bebop, but also as rebop or bop. Like Lester Young, Charlie Christian, and other outstanding soloists, Parker had played with big bands. During World War II (1939-1945), however, the wartime economy and changes in audience tastes had driven many big bands out of business. Their decline, combined with the radically new bebop style, amounted to a revolution in the jazz world.

Bebop was still based on the principle of improvisation over a chord progression, but the tempos were faster, the phrases longer and more complex, and the emotional range expanded to include more unpleasant feelings than before. Jazz musicians became aware of themselves as artists and made little effort to sell their wares by adding vocals, dancing, and comedy as their predecessors had.

At the center of the ferment stood Parker, who could play anything on the saxophone, in any tempo and in any key. He created beautiful melodies that were related in advanced ways to the underlying chords, and his music possessed endless rhythmic variety. Parker’s frequent collaborators were trumpeter Dizzy Gillespie, known for his formidable speed and range and daring harmonic sense, and pianist Earl “Bud” Powell and drummer Max Roach, both leaders in their own right. Also highly regarded were pianist-composer Thelonious Monk and trumpeter Fats Narro. Jazz singer Sarah Vaughan was associated early in her career with bebop musicians, particularly Gillespie and Parker.

The late 1940s brought forth an explosion of experimentation in jazz. Modernized big bands led by Gillespie and Stan Kenton flourished alongside small groups with innovative musicians such as pianist Lennie Tristano. Most of these groups drew ideas from 20th-century pieces by masters such as Bartók and Strinsky.

The most influential of the midcentury experiments with classically influenced jazz were the recordings made in 1949 and 1950 by an unusual nonet led by Charlie Parker’s protégé, a young trumpeter named Miles Dis. The written arrangements, by Dis and others, were soft in tone but highly complex. Many groups adopted this “cool” style, especially on the West Coast, and so it became known as West Coast jazz. Refined by players such as tenor saxophonists Zoot Sims and Stan Getz and baritone saxophonist Gerry Mulligan, West Coast jazz flourished throughout the 1950s. Also in the 1950s pianist De Brubeck (a student of Milhaud’s), with alto saxophonist Paul Desmond, achieved popularity with his blend of classical music and jazz.

Most musicians, however, particularly on the East Coast, continued to expand on the hotter, more driving bebop tradition. Major exponents of the hard-bop or East Coast style included trumpeter Clifford Brown, drummer Art Blakey, and tenor saxophonist Sonny Rollins, whose unique roach made him one of the major talents of his generation. Another derivative of the Parker style was soul jazz, played by pianist Horace Silver, alto saxophonist Cannonball Adderley, and his brother, cornetist Nat Adderley.

H The Late 1950s, 1960s, and 10s

Several new roaches characterized jazz in the third quarter of the century. The years around 1960 ranked with the late 1920s and the late 1940s as one of the most fertile periods in the history of jazz.

H1 Modal Jazz

In 1955 Miles Dis organized a quintet that featured tenor saxophonist John Coltrane, whose complex roach produced a striking contrast to Dis’s rich-toned, unhurried, expressive melodic lines. Coltrane poured out streams of notes with velocity and passion, exploring every melodic idea, no matter how exotic; nevertheless, he played slow ballads with poise and serenity. In his solos he revealed an exceptional sense of form and pacing. In 1959 Coltrane eared on a landmark Miles Dis album, Kind of Blue. Along with pianist Bill Evans, Dis devised for this album a set of pieces that remain in one key, chord, and mode for as long as 16 me