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The Total Works of William Shakespeare Abridged All the world's a stage, And all the men and ladies only players: They have their exits and their entrances, And one man in his time plays numerous parts, His acts being seven ages. To begin with the infant, Mewling, and vomiting within the nurse's arms. And after that the whimpering school-boy, with his satchel, And shining morning face, inching like snail unwillingly to school. And after that, the lover, Sighing like heater, with a woeful ballad Made to his mistress' eyebrow. At that point, a soldier, Full of interesting pledges, and unshaven just like the part, Jealous in respect, sudden and fast in quarrel, Seeking the bubble reputation even within the cannon's mouth. And after that, the justice, In reasonable circular stomach with great capon lined, With eyes extreme, and whiskers of formal cut, Full of astute saws and cutting edge instances; And so he plays his portion. The 6th age shifts into the incline and slippered pantaloons, With exhibitions on nose and pocket on the side, His young hose well saved, a world as well wide For his contracted shank; and his huge masculine voice, Turning once more toward childish treble, pipes, and shrieks in his sound. The final scene of all, That closes this interesting exciting history, Is moment childishness and insignificant oblivion, Sans teeth, sans eyes, sans taste, sans everything.
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Between his first recording session in 1944 and his death in 1991, Miles Davis changed the course of music many times. The first of these came with the short-lived lineups he assembled for a New York residency and three studio sessions between January 1949 and March 1950. The nine-piece lineup was unusual – few jazz bands used a French horn – and the gigs attracted little attention. The sessions produced a handful of singles for Capitol Records, later collected as an album called Birth of the Cool – these ensured the band’s shadow would prove longer than all but a handful of its contemporaries.
The recordings were the result of hanging out after hours at arranger Gil Evans’s basement flat. The punchy, brightly coloured Venus de Milo was one of three tracks the group recorded that was composed by saxophonist Gerry Mulligan. The epithet “cool” isn’t entirely helpful, suggesting a prizing of style over substance: this music is never aloof or detached. Rather, this is what you got when you tuned down the frenzy of Charlie Parker and Dizzy Gillespie and allied it to the kind of sophisticated big-band arrangements Duke Ellington pioneered. Davis was a fan – and a part – of both traditions: not for the first time, what he crafted was a fusion of preceding forms that changed what would follow.
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all of the above mediums use texture.
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