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Dizzy Gillespie

John Birks "Dizzy" Gillespie (October 21, 1917 – January 6, 1993) was an American jazz trumpeter, bandleader, composer, educator and singer. He was a trumpet virtuoso and improviser, building on the virtuosic style of Roy Eldridge but adding layers of harmonic and rhythmic complexity previously unheard in jazz. His combination of musicianship, showmanship, and wit made him a leading popularizer of the new music called bebop. His beret and horn-rimmed spectacles, scat singing, bent horn, pouched cheeks, and light-hearted personality have made him an enduring icon.

In the 1940s, Gillespie, with Charlie Parker, became a major figure in the development of bebop and modern jazz. He taught and influenced many other musicians, including trumpeters Miles Davis, Jon Faddis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan, Chuck Mangione, and balladeer Johnny Hartman.

He pioneered Afro-Cuban jazz and won several Grammy Awards. Scott Yanow wrote, "Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time, Gillespie was such a complex player that his contemporaries ended up being similar to those of Miles Davis and Fats Navarro instead, and it was not until Jon Faddis's emergence in the 1970s that Dizzy's style was successfully recreated [....] Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all time".

Early life and career
The youngest of nine children of Lottie and James Gillespie, Dizzy Gillespie was born in Cheraw, South Carolina. His father was a local bandleader, so instruments were made available to the children. Gillespie started to play the piano at the age of four. Gillespie's father died when he was only ten years old. He taught himself how to play the trombone as well as the trumpet by the age of twelve. From the night he heard his idol, Roy Eldridge, on the radio, he dreamed of becoming a jazz musician.

He won a music scholarship to the Laurinburg Institute in North Carolina which he attended for two years before accompanying his family when they moved to Philadelphia in 1935.

Gillespie's first professional job was with the Frank Fairfax Orchestra in 1935, after which he joined the respective orchestras of Edgar Hayes and later Teddy Hill, replacing Frankie Newton as second trumpet in May 1937. Teddy Hill's band was where Gillespie made his first recording, "King Porter Stomp". In August 1937 while gigging with Hayes in Washington D.C., Gillespie met a young dancer named Lorraine Willis who worked a Baltimore–Philadelphia–New York City circuit which included the Apollo Theater. Willis was not immediately friendly but Gillespie was attracted anyway. The two married on May 9, 1940. Gillespie stayed with Teddy Hill's band for a year, then left and freelanced with other bands. In 1939, with the help of Willis, Gillespie joined Cab Calloway's orchestra. He recorded one of his earliest compositions, "Pickin' the Cabbage", with Calloway in 1940. After an altercation between the two, Calloway fired Gillespie in late 1941. The incident is recounted by Gillespie and Calloway's band members Milt Hinton and Jonah Jones in Jean Bach's 1997 film, The Spitball Story. Calloway disapproved of Gillespie's mischievous humor and his adventuresome approach to soloing. According to Jones, Calloway referred to it as "Chinese music". During rehearsal, someone in the band threw a spitball. Already in a foul mood, Calloway blamed Gillespie, who refused to take the blame. Gillespie stabbed Calloway in the leg with a knife. Calloway had minor cuts on the thigh and wrist. After the two were separated, Calloway fired Gillespie. A few days later, Gillespie tried to apologize to Calloway, but he was dismissed.

During his time in Calloway's band, Gillespie started writing big band music for Woody Herman and Jimmy Dorsey. He then freelanced with a few bands, most notably Ella Fitzgerald's orchestra, composed of members of the Chick Webb's band.

Gillespie did not serve in World War II. At his Selective Service interview, he told the local board, "in this stage of my life here in the United States whose foot has been in my ass?" and "So if you put me out there with a gun in my hand and tell me to shoot at the enemy, I'm liable to create a case of 'mistaken identity' of who I might shoot." He was classified 4-F. In 1943, he joined the Earl Hines band. Composer Gunther Schuller said,

"... In 1943 I heard the great Earl Hines band which had Bird in it and all those other great musicians. They were playing all the flatted fifth chords and all the modern harmonies and substitutions and Gillespie runs in the trumpet section work. Two years later I read that that was 'bop' and the beginning of modern jazz ... but the band never made recordings."

Gillespie said of the Hines band, "[p]eople talk about the Hines band being 'the incubator of bop' and the leading exponents of that music ended up in the Hines band. But people also have the erroneous impression that the music was new. It was not. The music evolved from what went before. It was the same basic music. The difference was in how you got from here to here to here ... naturally each age has got its own shit."

Gillespie joined the big band of Hines' long-time collaborator Billy Eckstine, and it was as a member of Eckstine's band that he was reunited with Charlie Parker, a fellow member. In 1945, Gillespie left Eckstine's band because he wanted to play with a small combo. A "small combo" typically comprised no more than five musicians, playing the trumpet, saxophone, piano, bass and drums.

Rise of bebop

Bebop was known as the first modern jazz style. However, it was unpopular in the beginning and was not viewed as positively as swing music was. Bebop was seen as an outgrowth of swing, not a revolution. Swing introduced a diversity of new musicians in the bebop era like Charlie Parker, Thelonious Monk, Bud Powell, Kenny Clarke, Oscar Pettiford, and Gillespie. Through these musicians, a new vocabulary of musical phrases was created. With Parker, Gillespie jammed at famous jazz clubs like Minton's Playhouse and Monroe's Uptown House. Parker's system also held methods of adding chords to existing chord progressions and implying additional chords within the improvised lines.

Gillespie compositions like "Groovin' High", "Woody 'n' You", and "Salt Peanuts" sounded radically different, harmonically and rhythmically, from the swing music popular at the time. "A Night in Tunisia", written in 1942, while he was playing with Earl Hines' band, is noted for having a feature that is common in today's music: a syncopated bass line. "Woody 'n' You" was recorded in a session led by Coleman Hawkins with Gillespie as a featured sideman on February 16, 1944 (Apollo), the first formal recording of bebop. He appeared in recordings by the Billy Eckstine band and started recording prolifically as a leader and sideman in early 1945. He was not content to let bebop sit in a niche of small groups in small clubs. A concert by one of his small groups in New York's Town Hall on June 22, 1945, presented bebop to a broad audience; recordings of it were released in 2005. He started to organize big bands in late 1945. Dizzy Gillespie and his Bebop Six, which included Parker, started an extended gig at Billy Berg's club in Los Angeles in December 1945. Reception was mixed and the band broke up. In February 1946 he signed a contract with Bluebird, gaining the distribution power of RCA for his music. He and his big band headlined the 1946 film Jivin' in Be-Bop.

After his work with Parker, Gillespie led other small combos (including ones with Milt Jackson, John Coltrane, Lalo Schifrin, Ray Brown, Kenny Clarke, James Moody, J.J. Johnson, and Yusef Lateef) and put together his successful big bands starting in 1947. He and his big bands, with arrangements provided by Tadd Dameron, Gil Fuller, and George Russell, popularized bebop and made him a symbol of the new music.

His big bands of the late 1940s also featured Cuban rumberos Chano Pozo and Sabu Martinez, sparking interest in Afro-Cuban jazz. He appeared frequently as a soloist with Norman Granz's Jazz at the Philharmonic.

Gillespie and his Bee Bop Orchestra was the featured star of the 4th Cavalcade of Jazz concert held at Wrigley Field in Los Angeles which was produced by Leon Hefflin, Sr. on September 12, 1948. The young maestro had recently returned from Europe where his music rocked the continent. The program description noted "the musicianship, inventive technique, and daring of this young man has created a new style, which can be defined as off the chord solo gymnastics." Also on the program that day were Frankie Laine, Little Miss Cornshucks, The Sweethearts of Rhythm, The Honeydrippers, Big Joe Turner, Jimmy Witherspoon, The Blenders, and The Sensations.

In 1948, Gillespie was involved in a traffic accident when the bicycle he was riding was bumped by an automobile. He was slightly injured and found that he could no longer hit the B-flat above high C. He won the case, but the jury awarded him only $1000 in view of his high earnings up to that point.

In 1951, Gillespie founded his record label, Dee Gee Records; it closed in 1953.

On January 6, 1953, he threw a party for his wife Lorraine at Snookie's, a club in Manhattan, where his trumpet's bell got bent upward in an accident, but he liked the sound so much he had a special trumpet made with a 45 degree raised bell, becoming his trademark.

In 1956 Gillespie organized a band to go on a State Department tour of the Middle East which was well-received internationally and earned him the nickname "the Ambassador of Jazz". During this time, he also continued to lead a big band that performed throughout the United States and featured musicians including Pee Wee Moore and others. This band recorded a live album at the 1957 Newport jazz festival that featured Mary Lou Williams as a guest artist on piano.

Afro-Cuban jazz
In the late 1940s, Gillespie was involved in the movement called Afro-Cuban music, bringing Afro-Latin American music and elements to greater prominence in jazz and even pop music, particularly salsa. Afro-Cuban jazz is based on traditional Afro-Cuban rhythms. Gillespie was introduced to Chano Pozo in 1947 by Mario Bauza, a Latin jazz trumpet player. Chano Pozo became Gillespie's conga drummer for his band. Gillespie also worked with Mario Bauza in New York jazz clubs on 52nd Street and several famous dance clubs such as the Palladium and the Apollo Theater in Harlem. They played together in the Chick Webb band and Cab Calloway's band, where Gillespie and Bauza became lifelong friends. Gillespie helped develop and mature the Afro-Cuban jazz style. Afro-Cuban jazz was considered bebop-oriented, and some musicians classified it as a modern style. Afro-Cuban jazz was successful because it never decreased in popularity and it always attracted people to dance.

Gillespie's most famous contributions to Afro-Cuban music are "Manteca" and "Tin Tin Deo" (both co-written with Chano Pozo); he was responsible for commissioning George Russell's "Cubano Be, Cubano Bop", which featured Pozo. In 1977, Gillespie met Arturo Sandoval during a jazz cruise to Havana. Sandoval toured with Gillespie and defected in Rome in 1990 while touring with Gillespie and the United Nations Orchestra.

Final years
In the 1980s, Gillespie led the United Nations Orchestra. For three years Flora Purim toured with the Orchestra. She credits Gillespie with improving her understanding of jazz.

In 1982, he was sought out by Motown musician Stevie Wonder to play his solo in Wonder's 1982 hit single, "Do I Do".

He starred in the film The Winter in Lisbon that was released as El invierno en Lisboa in 1992 and re-released in 2004. The soundtrack album, featuring him, was recorded in 1990 and released in 1991. The film is a crime drama about a jazz pianist who falls for a dangerous woman while in Portugal with an American expatriate's jazz band.

In December 1991, during an engagement at Kimball's East in Emeryville, California, he suffered a crisis from what turned out to be pancreatic cancer. He performed one more night but cancelled the rest of the tour for medical reasons, ending his 56-year touring career. He led his last recording session on January 25, 1992.

On November 26, 1992, Carnegie Hall, following the Second Baháʼí World Congress, celebrated Gillespie's 75th birthday concert and his offering to the celebration of the centenary of the passing of Baháʼu'lláh. Gillespie was to appear at Carnegie Hall for the 33rd time. The line-up included Jon Faddis, James Moody, Paquito D'Rivera, and the Mike Longo Trio with Ben Brown on bass and Mickey Roker on drums. Gillespie was too unwell to attend. "But the musicians played their real hearts out for him, no doubt suspecting that he would not play again. Each musician gave tribute to their friend, this great soul and innovator in the world of jazz."

Death and postmortem
A longtime resident of Englewood, New Jersey, Gillespie died of pancreatic cancer on January 6, 1993, at the age of 75 and was buried in Flushing Cemetery, Queens, New York City. Mike Longo delivered a eulogy at his funeral.

Politics and religion
In 1962, Gillespie and actor George Mathews starred in The Hole, an animated short film by John and Faith Hubley. Released the same year as the Cuban Missile Crisis, it uses audio from an improvised conversation between the two debating the causes of accidents and the possibility of accidentally launching nuclear weapons. The short went on to win the Academy Award for Best Animated Short Film the following year.

During the 1964 United States presidential campaign, Gillespie put himself forward as an independent write-in candidate. He promised that if he were elected, the White House would be renamed the Blues House, and he would have a cabinet composed of Duke Ellington (Secretary of State), Miles Davis (Director of the CIA), Max Roach (Secretary of Defense), Charles Mingus (Secretary of Peace), Ray Charles (Librarian of Congress), Louis Armstrong (Secretary of Agriculture), Mary Lou Williams (Ambassador to the Vatican), Thelonious Monk (Travelling Ambassador) and Malcolm X (Attorney General). He said his running mate would be Phyllis Diller. Campaign buttons had been manufactured years before by Gillespie's booking agency as a joke but proceeds went to Congress of Racial Equality, Southern Christian Leadership Conference and Martin Luther King Jr.; in later years they became a collector's item. In 1971, he announced he would run again but withdrew before the election.

Shortly after the death of Charlie Parker, Gillespie encountered an audience member after a show. They had a conversation about the oneness of humanity and the elimination of racism from the perspective of the Baháʼí Faith. Impacted by the assassination of Martin Luther King Jr. in 1968, he became a Baháʼí that same year. The universalist emphasis of his religion prodded him to see himself more as a global citizen and humanitarian, expanding on his interest in his African heritage. His spirituality brought out generosity and what author Nat Hentoff called an inner strength, discipline, and "soul force".

Gillespie's conversion was most affected by Bill Sears' book Thief in the Night. Gillespie spoke about the Baháʼí Faith frequently on his trips abroad. He is honored with weekly jazz sessions at the New York Baháʼí Center in the memorial auditorium. A concert in honor of his 75th birthday was held in New York City's Carnegie Hall, 26 November 1992, in conjunction with the second Baha'i world congress, however, he was too ill to personally attend.

Personal life
Gillespie married dancer Lorraine Willis in Boston on May 9, 1940. They remained together until his death in 1993; Lorraine converted to Catholicism with Mary Lou Williams in 1957. Lorraine managed his business and personal affairs. The couple had no children, but Gillespie fathered a daughter, jazz singer Jeanie Bryson, born in 1958 from an affair with songwriter Connie Bryson. Gillespie met Bryson, a Juilliard-trained pianist, at the jazz club Birdland in New York City. In the mid-1960s, Gillespie settled down in Englewood, New Jersey, with his wife. The local Englewood public high school, Dwight Morrow High School, named its auditorium after him: the 'Dizzy Gillespie Auditorium'.

Style
Gillespie has been described as the "sound of surprise". The Rough Guide to Jazz describes his musical style:

"The whole essence of a Gillespie solo was cliff-hanging suspense: the phrases and the angle of the approach were perpetually varied, breakneck runs were followed by pauses, by huge interval leaps, by long, immensely high notes, by slurs and smears and bluesy phrases; he always took listeners by surprise, always shocking them with a new thought. His lightning reflexes and superb ear meant his instrumental execution matched his thoughts in its power and speed. And he was concerned at all times with swing—even taking the most daring liberties with pulse or beat, his phrases never failed to swing. Gillespie's magnificent sense of time and emotional intensity of his playing came from childhood roots. His parents were Methodists, but as a boy he used to sneak off every Sunday to the uninhibited Sanctified Church. He said later, 'The Sanctified Church had deep significance for me musically. I first learned the significance of rhythm there and all about how music can transport people spiritually.'"

In Gillespie's obituary, Peter Watrous describes his performance style:

"In the naturally effervescent Mr. Gillespie, opposites existed. His playing—and he performed constantly until nearly the end of his life—was meteoric, full of virtuosic invention and deadly serious. But with his endlessly funny asides, his huge variety of facial expressions and his natural comic gifts, he was as much a pure entertainer as an accomplished artist."

Wynton Marsalis summarized Gillespie as a player and teacher:

"His playing showcases the importance of intelligence. His rhythmic sophistication was unequaled. He was a master of harmony—and fascinated with studying it. He took in all the music of his youth—from Roy Eldridge to Duke Ellington—and developed a unique style built on complex rhythm and harmony balanced by wit. Gillespie was so quick-minded, he could create an endless flow of ideas at unusually fast tempo. Nobody had ever even considered playing a trumpet that way, let alone had actually tried. All the musicians respected him because, in addition to outplaying everyone, he knew so much and was so generous with that knowledge..."

Bent trumpet

Gillespie's trademark trumpet featured a bell which bent upward at a 45-degree angle rather than pointing straight ahead as in the conventional design. According to Gillespie's autobiography, this was originally the result of accidental damage caused by the dancers Stump and Stumpy falling onto the instrument while it was on a trumpet stand on stage at Snookie's in Manhattan on January 6, 1953, during a birthday party for Gillespie's wife Lorraine. The constriction caused by the bending altered the tone of the instrument, and Gillespie liked the effect. He had the trumpet straightened out the next day, but he could not forget the tone. Gillespie sent a request to Martin to make him a "bent" trumpet from a sketch produced by Lorraine, and from that time forward played a trumpet with an upturned bell.

By June 1954 he was using a professionally manufactured horn of this design, and it was to become a trademark for the rest of his life. Such trumpets were made for him by Martin (from 1954), King Musical Instruments (from 1972) and Renold Schilke (from 1982, a gift from Jon Faddis). Gillespie favored mouthpieces made by Al Cass. In December 1986 Gillespie gave the National Museum of American History his 1972 King "Silver Flair" trumpet with a Cass mouthpiece.

In April 1995, Gillespie's Martin trumpet was auctioned at Christie's in New York City with instruments used by Coleman Hawkins, Jimi Hendrix, and Elvis Presley. An image of Gillespie's trumpet was selected for the cover of the auction program. The battered instrument was sold to Manhattan builder Jeffery Brown for $63,000, the proceeds benefiting jazz musicians with cancer.

Awards and honors

In 1989, Gillespie was given the Grammy Lifetime Achievement Award. The next year, at the Kennedy Center for the Performing Arts ceremonies celebrating the centennial of American jazz, Gillespie received the Kennedy Center Honors Award and the American Society of Composers, Authors, and Publishers Duke Ellington Award for 50 years of achievement as a composer, performer, and bandleader.

In 1989, Gillespie was awarded with an honorary doctorate of music from Berklee College of Music.

In 1991, Gillespie received the Golden Plate Award of the American Academy of Achievement presented by Awards Council member Wynton Marsalis.

In 1993 he received the Polar Music Prize in Sweden. In 2002, he was posthumously inducted into the International Latin Music Hall of Fame for his contributions to Afro-Cuban music. He was honored on December 31, 2006 in A Jazz New Year's Eve: Freddy Cole & the Dizzy Gillespie All-Star Big Band at The John F. Kennedy Center for the Performing Arts. In 2014, Gillespie was inducted into the New Jersey Hall of Fame.

In popular culture
Samuel E. Wright played Dizzy Gillespie in the film Bird (1988), about Charlie Parker. Kevin Hanchard portrayed Gillespie in the Chet Baker biopic Born to Be Blue (2015). Charles S. Dutton played him in For Love or Country: The Arturo Sandoval Story (2000).

List of works
Dizzie was honoured with a Chieftaincy title of BOBASERE OF IPERU LAND OGUN STATE NIGERIA

title: Dizzy Gillespie


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Tropaeolum

Tropaeolum, commonly known as nasturtium (literally "nose-twister" or "nose-tweaker"), is a genus of roughly 80 species of annual and perennial herbaceous flowering plants. It was named by Carl Linnaeus in his book Species Plantarum, and is the only genus in the family Tropaeolaceae. The nasturtiums received their common name because they produce an oil similar to that of watercress (Nasturtium officinale).

The genus Tropaeolum, native to South and Central America, includes several very popular garden plants, the most common being T. majus, T. peregrinum and T. speciosum. One of the hardiest species is T. polyphyllum from Chile, the perennial roots of which can survive the winter underground at elevations of 3,300 m.

Plants in this genus have showy, often intensely bright flowers and rounded, peltate (shield-shaped) leaves with the petiole in the centre. The flowers are bisexual and zygomorphic, with five petals, a superior three-carpelled ovary, and a funnel-shaped nectar spur at the back, formed by modification of one of the five sepals.

History
Tropaeolum was introduced into Spain by the Spanish botanist Nicolás Monardes, who described it in his Historia medicinal de las cosas que se traen de nuestras Indias Occidentales of 1569, translated into English as Ioyfull newes out of the newe founde worlde by John Frampton. The English herbalist John Gerard reports having received seeds of the plant from Europe in his 1597 book Herball, or Generall Historie of Plantes. Tropaeolum majus was named by the Swedish botanist Carl Linnaeus, who chose the genus name because the plant reminded him of an ancient custom: After victory in battle, the Romans erected a trophy pole (or tropaeum, from the Greek tropaion, source of English "trophy") on which the vanquished foe's armour and weapons were hung. The plant's round leaves reminded Linnaeus of shields and its flowers of blood-stained helmets.

Nasturtiums were once commonly called "Indian cresses" because they were introduced from the Americas, known popularly then as the Indies, and used like cress as salad ingredients. In his herbal, John Gerard compared the flowers of the "Indian Cress" to those of the forking larkspur (Consolida regalis) of the buttercup family. He wrote: "Unto the backe part (of the flower) doth hange a taile or spurre, such as hath the Larkes heele, called in Latine Consolida regalis."

J. R. R. Tolkien commented that an alternative anglicization of "nasturtium" was "nasturtian".

Description
Tropaeolum is a genus of dicotyledonous annual or perennial plants, often with somewhat succulent stems and sometimes tuberous roots. The alternate leaves are hairless, peltate, and entirely or palmately lobed. The petioles or leaf stalks are long and, in many species, can twine around other stems to provide support. The flowers are bisexual and showy, set singly on long stalks in the axils of the leaves. They have five sepals, the uppermost of which is elongated into a nectar spur. The five petals are clawed, with the lower three unlike the upper two. The eight stamens are in two whorls of unequal length, and the superior ovary has three segments and three stigmas on a single style. The fruit is naked and nut-like, with three single seed segments.

Species in cultivation
The most common flower in cultivation is a hybrid of T. majus, T. minus, and T. peltophorum. It is commonly known as the nasturtium (and occasionally anglicized as nasturtian). It is mostly grown from seed as a half-hardy annual, and both single and double varieties are available. It comes in various forms and colours, including cream, yellow, orange and red, solid in colour or striped and often with a dark blotch at the base of the petals. It is vigorous and easily grown and does well in sun. It thrives in poor soil and dry conditions, whereas rich soil produces much leafy growth and few flowers. Some varieties adopt a bush form while others scramble over and through other plants and are useful for planting in awkward spots or for covering fences and trellises.

The following cultivars have gained the Royal Horticultural Society's Award of Garden Merit:
 * 'Alaska Series'
 * 'Hermine Grashoff'
 * 'Whirlybird Series'

The blue nasturtium (Tropaeolum azureum) is a tender species from Chile which has violet-blue flowers with white eyes that can be as much as 4 cm across.

Tropaeolum brachyceras has 2.5 cm yellow flowers with purplish markings on wiry, climbing stems. It is a half-hardy perennial from Chile and may remain dormant for several years before being sparked into growth by some unknown trigger factor.

Tropaeolum hookerianum is a tuberous-rooted species from Chile. There are two subspecies, T. h. austropurpureum which has violet-purple flowers and T. h. pilosum with yellow flowers.

The Canary creeper (Tropaeolum peregrinum) is a trailing and climbing half-hardy annual species with wiry stalks and palmately lobed leaves. The pale yellow, fringed flowers are borne on long stalks. It originated from Peru but may first have been cultivated in the Canary Islands before being introduced into Western Europe.

Wreath nasturtium (Tropaeolum polyphyllum) is a prostrate plant originating from Argentina and Chile. It has silvery, deeply lobed leaves and a profusion of small, bright yellow flowers on long trailing stalks. After flowering, the plant dies back. It is a perennial with underground rhizomes which send up new shoots at intervals. It will survive for several years in a suitable sunny location with well-drained soil. It is a very hardy species; the tubers can grow at depths of 60 cm enabling the plant to survive at altitudes of as much as 3,300 metres (10,000 ft) in the Andes.

The flame flower (Tropaeolum speciosum) is well adapted to cool, moist climates and famously does well in Scotland. It sends up shoots that thread their way through hedges and shrubs and, when they emerge into the light, bear brilliant red flowers among small, five or six-lobed leaves. It is difficult to establish but is an attractive garden plant when it thrives. This plant has gained the Royal Horticultural Society's Award of Garden Merit.

Three-coloured Indian cress (Tropaeolum tricolor) is another tuberous, climbing species grown for its attractive red, purple and yellow tubular flowers. It comes from Chile and Bolivia and is a reliable winter-growing species.

Mashua (Tropaeolum tuberosum) is a perennial climbing plant from the Andes grown for its tuberous roots. It has been cultivated since ancient times, and depictions of it are found at archaeological sites pre-dating the Incas. It has leaves with five to seven lobes and small, long-spurred, red and yellow flowers. The tubers have an unpleasant smell when raw, which disappears on cooking. It is frost-hardy and produces crops of 30 tonnes per hectare at an elevation of 3000 m above sea level. The cultivar T. tuberosum lineamaculatum 'Ken Aslet' has gained the Royal Horticultural Society's Award of Garden Merit.

Species originating from the coastal areas and lower foothills make most of their growth in winter, whereas the true alpine species are summer growers. Tuberous Tropaeolum species are well known for occasionally remaining dormant for one or more years. The species with underground rhizomes and tubers can be propagated from these, while other species are best raised from seed. Many growers favour fresh seed, but dried seed is also often successful. Seed from the winter growing species should be sown in the autumn, while the summer growing species are best sown in the spring in well-drained compost and covered with 1 to 2 cm of grit or sand. The containers should be kept at below 4 °C until the seedlings appear in about a month, as too high a temperature inhibits germination.

Culinary
All parts of Tropaeolum majus are edible. The flower has most often been consumed, making for an especially ornamental salad ingredient; it has a slightly peppery taste reminiscent of watercress and is also used in stir fry. The flowers contain about 130 mg vitamin C per 100 g, about the same amount as is contained in parsley. Moreover, they contain up to 45 mg of lutein per 100 g, which is the highest amount found in any edible plant. The unripe seed pods can be harvested and dropped into spiced vinegar to produce a condiment and garnish, sometimes used in place of capers.

Mashua (T. tuberosum) produces an edible underground tuber that is a major food source in parts of the Andes.

Herbal medicine
T. majus has been used in herbal medicine for respiratory and urinary tract infections.

In Germany, licensed physicians can prescribe the herbal antibiotic Angocin Anti-Infekt N, made from only nasturtium and horseradish root.

Companion planting and biological pest control
Nasturtiums are used as companion plants for biological pest control, repelling some pests, acting as a trap crop for others and attracting predatory insects. While companion planting is a widespread notion and often adopted by home gardeners, there is little but anecdotal evidence to support these claims.

Taxonomy
Tropaeolum was previously placed in the family Tropaeolaceae along with two other genera, Magallana Cav. and Trophaeastrum. The monotypic genus Magallana was characterised by having winged fruit, and the two species of Trophaeastrum lacked spurs. The genus Tropaeolum was diagnosed only by the absence of the characteristics of the other two genera. A molecular study undertaken in 2000 found Tropaeolum to be paraphyletic when the other two genera are segregated, so Magallana and Trophaeastrum were reduced to synonyms of Tropaeolum. Tropaeolaceae was thus rendered monogeneric, a family of only one genus.

Species
"The Plant List", a collaboration between the Missouri Botanical Garden and the Royal Botanic Gardens, Kew, includes the following accepted names of Tropaeolum species names. Some that are under review are here marked "U". • Tropaeolum adpressum

• Tropaeolum albiflorum - U

• Tropaeolum argentinum

• Tropaeolum asplundii

• Tropaeolum atrocapillare

• Tropaeolum atrosanguineum - U

• Tropaeolum azureum

• Tropaeolum beuthii

• Tropaeolum bicolor

• Tropaeolum bogotense - U

• Tropaeolum boliviense - U

• Tropaeolum brachyceras

• Tropaeolum brasiliense

• Tropaeolum brideanum

• Tropaeolum buchenavianum - U

• Tropaeolum calcaratum

• Tropaeolum calvum

• Tropaeolum capillare

• Tropaeolum carchense

• Tropaeolum ciliatum

• Tropaeolum cirrhipes

• Tropaeolum cochabambae

• Tropaeolum concavum

• Tropaeolum concinneum - U

• Tropaeolum canariense

• Tropaeolum crenatiflorum

• Tropaeolum cubio - U

• Tropaeolum curvirostre - U

• Tropaeolum cuspidatum

• Tropaeolum dawei - U

• Tropaeolum deckerianum

• Tropaeolum denticualtum - U

• Tropaeolum dicolorum - U

• Tropaeolum dipetalum

• Tropaeolum elzae - U

• Tropaeolum emarginatum

• Tropaeolum ferreyrae

• Tropaeolum fintelmannii

• Tropaeolum flavipilum - U

• Tropaeolum garciae - U

• Tropaeolum harlingii

• Tropaeolum hayneanum

• Tropaeolum hirsutum - U

• Tropaeolum hirtifolium - U

• Tropaeolum hjertingii

• Tropaeolum hookerianum - U

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• Tropaeolum lehmannii - U

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• Tropaeolum lindenii - U

• Tropaeolum longiflorum

• Tropaeolum longifolium - U

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• Tropaeolum macrophyllum - U

• Tropaeolum maculifolium - U

• Tropaeolum magnificum

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• Tropaeolum mexiae - U

• Tropaeolum meyeri

• Tropaeolum minus

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• Tropaeolum morreanum - U

• Tropaeolum myriophyllum

• Tropaeolum naudinii - U

• Tropaeolum nuptae-jucundae

• Tropaeolum orinocense

• Tropaeolum orthoceras - U

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• Tropaeolum parvifolium - U

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• Tropaeolum popelari - U

• Tropaeolum porifolium

• Tropaeolum pubescens

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• Tropaeolum reichianum - U

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• Tropaeolum rhomboideum

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• Tropaeolum scheuerianum - U

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• Tropaeolum unilobatum - U

• Tropaeolum wagnerianum

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• Tropaeolum warscewiczii - U

• Tropaeolum willinkii

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Tropaeolum


text:
Monday

Monday is the day of the week that takes place between Sunday and Tuesday. According to the International Organization for Standardization's ISO 8601 standard, it is the first day of the week.

Names
The names of the day of the week were coined in the Roman era, in Greek and Latin, in the case of Monday as ἡμέρᾱ Σελήνης, diēs Lūnae "day of the Moon".

Many languages use either terms directly derived from these names or loan translations based on them. The English noun Monday derived sometime before 1200 from monedæi, which itself developed from Old English (around 1000) mōnandæg and mōndæg (literally meaning "moon's day"), which has cognates in other Germanic languages, including Old Frisian mōnadeig, Middle Low German and Middle Dutch mānendag, mānendach (modern Dutch Maandag), Old High German mānetag (modern German Montag), and Old Norse mánadagr (Swedish and Norwegian nynorsk måndag, Icelandic mánudagur. Danish and Norwegian bokmål mandag). The Germanic term is a Germanic interpretation of Latin lunae dies ("day of the moon"). Japanese and Korean share the same ancient Chinese words '月曜日' (Hiragana:げつようび, translit. getsuyо̄bi, Hangeul:월요일) for Monday which means "day of the moon". In many Indo-Aryan languages, the word for Monday is Somavāra or Chandravāra, Sanskrit loan-translations of "Monday".

In some cases, the "ecclesiastical" names are used, a tradition of numbering the days of the week in order to avoid the pagan connotation of the planetary or deities’ names, and to keep with the biblical name, in which Monday is the "second day" (Hebrew יום שני, Greek Δευτέρα ἡμέρα (Deutéra hēméra), Latin feria secunda, Arabic الأثنين). In many Slavic languages the name of the day translates to "after Sunday/holiday". Russian понедельник (ponyedyelnik) literally translated, Monday means "next to the week", по "next to" or "on" недельник "(the) week" Croatian and Bosnian ponedjeljak, Serbian понедељак (ponedeljak), Ukrainian понеділок (ponedilok), Bulgarian понеделник (ponedelnik), Polish poniedziałek, Czech pondělí, Slovak pondelok, Slovenian ponedeljek. In Turkish it is called pazartesi, which also means "after Sunday".

Arrangement in the week
Historically, the Greco-Roman week began with Sunday (dies solis), and Monday (dies lunae) was the second day of the week. It is still the custom to refer to Monday as feria secunda in the liturgical calendar of the Catholic Church. Quakers also traditionally referred to Monday as "Second Day".

The Portuguese and the Greek (Eastern Orthodox Church) also retain the ecclesiastical tradition (Portuguese segunda-feira, Greek Δευτέρα "deutéra" "second"). Vietnamese, whose Latin-based alphabet was originally romanized by Portuguese Jesuit missionaries, adopted this convention and thus also refers to Monday as Second Day (thứ Hai). Likewise, the Modern Hebrew name for Monday is yom-sheni (יום שני).

While in North America, Sunday is the first day of the week, the Geneva-based International Organization for Standardization places Monday as the first day of the week in its ISO 8601 standard. Monday is xīngqīyī (星期一) in Chinese, meaning "day one of the week".

Christianity
The early Christian Didache warned believers not to fast on Mondays to avoid Judaizing (see below), and suggested fasting on Wednesdays instead.

In the Eastern Orthodox Church, Mondays are days on which the Angels are commemorated. The Octoechos contains hymns on this theme, arranged in an eight-week cycle, which are chanted on Mondays throughout the year. At the end of Divine Services on Mondays, the dismissal begins with the words: "May Christ our True God, through the intercessions, of his most-pure Mother, of the honorable, Bodiless Powers (i.e., the angels) of Heaven…". In many Eastern monasteries Mondays are observed as fast days; because Mondays are dedicated to the angels, and monks strive to live an angelic life. In these monasteries, the monks abstain from meat, fowl, dairy products, fish, wine and oil (if a feast day occurs on a Monday, fish, wine and oil may be allowed, depending upon the particular feast).

Members of the Church of Jesus Christ of Latter-day Saints spend one evening per week, called Family Home Evening (FHE) or Family Night. This is usually a Monday, when families are encouraged to spend time together in study, prayer and other family activities. Many businesses owned by Latter-Day Saints close early on Mondays so that they and their customers are able to spend more time with their families.

Hinduism
In Hinduism, Mondays are associated with the Hindu god of the moon Chandra or Soma. In several South Asian languages, Monday is knowns as Somavara. Hindus who fast on Mondays do so in dedication to the deity Shiva. Some observe the Solah Somvar Vrat, which is a fast of sixteen Mondays dedicated to Shiva in hopes of getting married and finding a suitable partner. Fasting on Mondays in the Hindu month of Shravana is also considered auspicious as it is one of the holiest months to Hindus and dedicated to Shiva and his consort Parvati.

Islam
In Islam, Mondays are one of the days in a week in which Muslims are encouraged to do voluntary fasting, the other being Thursdays.

There are a number of Hadith which narrated of Muhammad fasting on these days. According to the same Hadith, Muhammad was born on Monday. It is also narrated that he received his first revelation (which would later become the Quran) on Monday.

Judaism
In Judaism, Mondays are considered auspicious days for fasting.

In Judaism, a small portion of the weekly Parashah in Torah is read in public on Monday and Thursday mornings, as a supplement for the Saturday reading). Special penitential prayers are recited on Monday unless there is a special occasion for happiness which cancels them. According to the Mishna and Talmud, these traditions are due to Monday and Thursday being "the market days" when people gathered from the towns to the city.

A tradition of Ashkenazi Jews to voluntarily fast on the first consecutive Monday Thursday and Monday of the Hebrew month is prevalent among the ultra-orthodox.

In Hebrew, Monday is called "Yom Shení", literally meaning "Second Day", following the biblical reference to the sabbath day as the "Seventh-day" and the tradition of that day being on Saturday. It has been established that the phonetic and cultural link between the planet Saturn, Saturday and the Sabbath day is of ancient Mesopotamian origin.

Cultural references

A number of popular songs in Western culture portray Mondays often as days of depression, anxiety, avolition, hysteria, or melancholy (mostly because of its association with the first day of the workweek). Mondays are also portrayed as days of boredom and bad luck, especially for many people in their school years, who have to go back to school every Monday after having no school Saturday and Sunday, which can make them grow a hatred for Mondays. For example, "Monday, Monday" (1966) from the Mamas & the Papas; "Rainy Days and Mondays" (1971) from the Carpenters; Monday, Monday, Monday (2002) from Tegan and Sara; and "Manic Monday" (1986) from the Bangles (written by Prince).

There is a band named the Happy Mondays and an American pop-punk band Hey Monday.

The popular comic strip character Garfield by Jim Davis is well known for his hatred for Mondays, mostly accompanied by the catchphrase “I hate Mondays.”

In the United Kingdom, more people commit suicide in England and Wales on Mondays than other days of the week; more people in the country in general call in sick; and more people worldwide surf the web.

In July 2002, the consulting firm PricewaterhouseCoopers announced that it would rename its consultancy practice "Monday", and would spend $110 million over the next year to establish the brand. When IBM acquired the consultancy three months later it chose not to retain the new name.

On October 17, 2022, Guinness World Records announced on Twitter that Monday is the ' Worst Day of the Week', to the dismay of some people.

Named days

 * Big Monday
 * Black Monday
 * Blue Monday
 * Clean Monday (Ash Monday)
 * Cyber Monday
 * Easter Monday, also Bright Monday or Wet Monday
 * First Monday
 * Handsel Monday
 * Lundi Gras
 * Mad Monday
 * Miracle Monday
 * Plough Monday
 * Shrove Monday
 * Wet Monday
 * Whit Monday

title: Monday


text:
Sunday

Sunday is the day of the week between Saturday and Monday. Sunday is a day of rest in most Western countries and a part of the weekend. In some Middle Eastern countries, Sunday is a weekday.

For most Christians, Sunday is observed as a day of worship and rest, holding it as the Lord's Day and the day of Christ's resurrection; in the United States, Canada, Japan, as well as in parts of South America, Sunday is the first day of the week. According to the Islamic calendar, Hebrew calendar and traditional calendars (including Christian calendars) Sunday is the first day of the week; Quaker Christians call Sunday the "first day" in accordance with their testimony of simplicity. The International Organization for Standardization ISO 8601, which is based in Switzerland, calls Sunday the seventh day of the week.

Etymology
The name "Sunday", the day of the Sun, is derived from Hellenistic astrology, where the seven planets, known in English as Saturn, Jupiter, Mars, the Sun, Venus, Mercury and the Moon, each had an hour of the day assigned to them, and the planet which was regent during the first hour of any day of the week gave its name to that day. During the 1st and 2nd centuries, the week of seven days was introduced into Rome from Egypt, and the Roman names of the planets were given to each successive day.

Germanic peoples seem to have adopted the week as a division of time from the Romans, but they changed the Roman names into those of corresponding Teutonic deities. Hence, the dies Solis became Sunday (German, Sonntag).

The English noun Sunday derived sometime before 1250 from sunedai, which itself developed from Old English (before 700) Sunnandæg (literally meaning "sun's day"), which is cognate to other Germanic languages, including Old Frisian sunnandei, Old Saxon sunnundag, Middle Dutch sonnendach (modern Dutch zondag), Old High German sunnun tag (modern German Sonntag), and Old Norse sunnudagr (Danish and Norwegian søndag, Icelandic sunnudagur and Swedish söndag). The Germanic term is a Germanic interpretation of Latin dies solis ("day of the sun"), which is a translation of the ancient Greek Ἥλίου ημέρα" (Hēlíou hēméra).

In most Indian languages, the word for Sunday is derived from Sanskrit Ravivāra or Adityavāra — vāra meaning day and Aditya and Ravi both being names for Surya, the Sun and the solar deity. Ravivāra is the first day cited in Jyotisha, which provides logical reason for giving the name of each weekday. In the Thai solar calendar, the name ("Waan Arthit") is derived from Aditya, and the associated colour is red.

In most Slavic languages other than Russian, the words for Sunday reflect the Christian commandment to abstain from work. Belarusian нядзеля, Bulgarian неделя , Croatian and Serbian nedjelja / недеља, Czech neděle, Macedonian недела , Polish niedziela, Slovak nedeľa, Slovenian nedelja and Ukrainian неділя are all cognates literally meaning "no work" or "day with no work".

In Russian, the word for Sunday is Воскресенье meaning "resurrection" (that is, the day of a week which commemorates the resurrection of Jesus Christ). In Old Russian, Sunday was also called неделя, "free day", or "day with no work", but in the contemporary language this word means "week".

The Modern Greek word for Sunday, Κυριακή, is derived from Κύριος (Kyrios, Lord) also, due to its liturgical significance as the day commemorating the resurrection of Jesus Christ, i.e. The Lord's Day.

The name is similar in the Romance languages. In Italian, Sunday is called domenica, which also means "Lord's Day" (from Latin Dies Dominica). One finds similar cognates in French, where the name is dimanche, as well as Romanian duminică, and in Spanish and Portuguese, domingo.

In Chinese, Korean, and Japanese, Sunday is called 星期日, 일요일 , and 日曜日 respectively, which all mean "sun day of the week".

The Arabic word for Sunday is الأحد, meaning "the first". It is usually combined with the word يوم meaning "day".

Latvian word for Sunday is svētdiena, literally "holy day". Lithuanian word is sekmadienis, literally "seventh day" (archaic; in contemporary Lithuanian, "seventh day" translates to septinta diena).

ISO 8601
The international standard ISO 8601 for representation of dates and times states that Sunday is the seventh and last day of the week. This method of representing dates and times unambiguously was first published in 1988.

Culture and languages
In the Judaic, Christian, as well as in some Islamic tradition, Sunday has been considered the first day of the week. A number of languages express this position either by the name for the day or by the naming of the other days. In Hebrew it is called יום ראשון yom rishon, in Arabic الأحد al-ahad, in Persian and related languages یکشنبه yek-shanbe, all meaning "first".

In Greek, the names of the days Monday, Tuesday, Wednesday, and Thursday (,, , and ) mean “second”, “third”, “fourth”, and “fifth”, respectively. This leaves Sunday in the first position of the week count. Similarly in Portuguese, where the days from Monday to Friday are counted as "segunda-feira", "terça-feira", "quarta-feira", "quinta-feira" and "sexta-feira". In Vietnamese, the working days in the week are named as: Thứ Hai (Second), Thứ Ba (Third), Thứ Tư (Fourth), Thứ Năm (Fifth), Thứ Sáu (Sixth), and Thứ Bảy (Seventh). Sunday is called "Chủ Nhật"(chữ Hán: 主日) meaning “Lord's Day”. Some colloquial text in the south of Vietnam and from the church may use a different reading of "Chúa Nhật"(in contemporary Vietnamese, "Chúa" means God or Lord and "Chủ" means own). In German, Wednesday is called Mittwoch, literally “mid-week”, implying the week runs from Sunday to Saturday.

Slavic languages implicitly number Monday as day number one. Russian воскресение (Sunday) means “resurrection”. Hungarian szerda (Wednesday), csütörtök (Thursday), and péntek (Friday) are Slavic loanwords, so the correlation with "middle", "four", and "five" are not evident to Hungarian speakers. Hungarians use Vasárnap for Sunday, which means "market day".

In the Maltese language, due to its Siculo-Arabic origin, Sunday is called Il-Ħadd, a corruption of wieħed, meaning "one". Monday is It-Tnejn, meaning "two". Similarly, Tuesday is It-Tlieta (three), Wednesday is L-Erbgħa (four), and Thursday is Il-Ħamis (five).

In Armenian, Monday is Yerkoushabti, literally meaning "second day of the week", Tuesday Yerekshabti "third day", Wednesday Chorekshabti "fourth day", Thursday Hingshabti "fifth day". Saturday is Shabat coming from the word Sabbath or Shabbath in Hebrew, and Kiraki, coming from the word Krak, meaning "fire", is Sunday, referring to the sun as a fire. Apostle John, in Revelations 1:10, refers to the "Lord's Day", (kyriakḗ hēmera), that is, "the day of the Lord", possibly influencing the Armenian word for Sunday.

In many European countries, calendars show Monday as the first day of the week, which follows the ISO 8601 standard.

In the Persian calendar, used in Iran and Afghanistan, Sunday is the second day of the week. However, it is called "number one" as counting starts from zero; the first day - Saturday - is denoted as day zero.

Christian usage
The ancient Romans traditionally used the eight-day nundinal cycle, a market week, but in the time of Augustus in the 1st century AD, a seven-day week also came into use.

In the gospels, the women are described as coming to the empty tomb "εις μια των σαββατων", which literally means "toward the first of the sabbath" and is often translated "on the first day of the week".

Justin Martyr, in the mid-2nd century, mentions "memoirs of the apostles" as being read on "the day called that of the sun" (Sunday) alongside the "writings of the prophets."

On 7 March 321, Constantine I, Rome's first Christian emperor, decreed that Sunday would be observed as the Roman day of rest:

"On the venerable Day of the Sun let the magistrates and people residing in cities rest, and let all workshops be closed. In the country, however, persons engaged in agriculture may freely and lawfully continue their pursuits; because it often happens that another day is not so suitable for grain-sowing or vine-planting; lest by neglecting the proper moment for such operations the bounty of heaven should be lost."

Despite the official adoption of Sunday as a day of rest by Constantine, the seven-day week and the nundinal cycle continued to be used side by side until at least the Calendar of 354 and probably later.

In 363, Canon 29 of the Council of Laodicea prohibited observance of the Jewish Sabbath (Saturday), and encouraged Christians to work on Saturday and rest on the Lord's Day (Sunday). The fact that the canon had to be issued at all is an indication that adoption of Constantine's decree of 321 was still not universal, not even among Christians. It also indicates that Jews were observing the Sabbath on Saturday.

Modern practices
First-day Sabbatarians, including Christians of the Methodist, Baptist and Reformed (Presbyterian and Congregationalist) traditions, observe Sunday as the sabbath, a day devoted to the worship of God at church (the attendance of Sunday School, a service of worship in the morning and evening), as well as a day of rest (meaning that people are free from servile labour and should refrain from trading, buying and selling except when necessary).

For most Christians the custom and obligation of Sunday rest is not as strict. A minority of Christians do not regard the day they attend church as important, so long as they attend. There is considerable variation in the observance of Sabbath rituals and restrictions, but some cessation of normal weekday activities is customary. Many Christians today observe Sunday as a day of church attendance.

In Roman Catholic liturgy, Sunday begins on Saturday evening. The evening Mass on Saturday is liturgically a full Sunday Mass and fulfills the obligation of Sunday Mass attendance, and Vespers (evening prayer) on Saturday night is liturgically "first Vespers" of the Sunday. The same evening anticipation applies to other major solemnities and feasts, and is an echo of the Jewish practice of starting the new day at sunset. Those who work in the medical field, in law enforcement, and soldiers in a war zone are dispensed from the usual obligation to attend church on Sunday. They are encouraged to combine their work with attending religious services if possible.

In the Eastern Orthodox Church, Sunday begins at the Little Entrance of Vespers (or All-Night Vigil) on Saturday evening and runs until "Vouchsafe, O Lord" (after the "prokeimenon") of Vespers on Sunday night. During this time, the dismissal at all services begin with the words, "May Christ our True God, who rose from the dead ...." Anyone who wishes to receive Holy Communion at Divine Liturgy on Sunday morning is required to attend Vespers the night before (see Eucharistic discipline). Among Orthodox Christians, Sunday is considered to be a "Little Pascha" (Easter), and because of the Paschal joy, the making of prostrations is forbidden, except in certain circumstances. Leisure activities and idleness, being secular and offensive to Christ as they are time-wasting, are prohibited.

Some languages lack separate words for "Saturday" and "Sabbath" (e. g. Italian, Portuguese). Outside the English-speaking world, Sabbath as a word, if it is used, refers to the Saturday (or the specific Jewish practices on it); Sunday is called the Lord's Day e. g. in Romance languages and Modern Greek. On the other hand, English-speaking Christians often refer to the Sunday as the Sabbath (other than Seventh-day Sabbatarians); a practice which, probably due to the international connections and the Latin tradition of the Roman Catholic Church, is more widespread among (but not limited to) Protestants. Quakers traditionally referred to Sunday as "First Day" eschewing the pagan origin of the English name, while referring to Saturday as the "Seventh day".

Some Christian denominations, called "Seventh-day Sabbatarians", observe a Saturday Sabbath. Christians in the Seventh-day Adventist, Seventh Day Baptist, and Church of God (Seventh-Day) denominations, as well as many Messianic Jews, have maintained the practice of abstaining from work and gathering for worship on Saturdays (sunset to sunset) as did all of the followers of God in the Old Testament.

Sunday in Mandaeism
Sunday in Mandaeism is called Habshaba (Habšaba). Mandaeans perform communal masbuta (baptism) every Sunday.

In government and business
In the United States and Canada, most government offices are closed on both Saturday and Sunday. The practice of offices closing on Sunday in government and in some rural areas of the United States stem from a system of blue laws. Blue laws were established in the early puritan days, which forbade secular activities on Sunday and were rigidly enforced. Some public activities are still regulated by these blue laws in the 21st century. In 1985, twenty-two states in which religious fundamentalism remained strong maintained general restrictions on Sunday behavior. In Oklahoma, for example, it is stated: "Oklahoma's statutes state that "acts deemed useless and serious interruptions of the repose and religious liberty of the community," such as trades, manufacturing, mechanical employment, horse racing, and gaming are forbidden. Public selling of commodities other than necessary foods and drinks, medicine, ice, and surgical and burial equipment, and other necessities can legally be prohibited on Sunday. In Oklahoma, a fine not to exceed twenty-five dollars may be imposed on individuals for each offense." Because of these blue laws, many private sector retail businesses open later and close earlier on Sunday or do not open at all.

Many countries, particularly in Europe such as Sweden, France, Germany and Belgium, but also in other countries such as Peru, hold their national and local elections on a Sunday, either by law or by tradition.

In media
Many American and British daily newspapers publish a larger edition on Sundays, which often includes color comic strips, a magazine, and a coupon section. Others only publish on a Sunday, or have a "sister paper" with a different masthead that only publishes on a Sunday.

North American radio stations often play specialty radio shows such as Casey Kasem's countdown or other nationally syndicated radio shows that may differ from their regular weekly music patterns on Sunday morning or Sunday evening. In the United Kingdom, there is a Sunday tradition of chart shows on BBC Radio 1 and commercial radio; this originates in the broadcast of chart shows and other populist material on Sundays by Radio Luxembourg when the Reithian BBC's Sunday output consisted largely of solemn and religious programmes. The first Sunday chart show was broadcast on the Light Programme on 7 January 1962, which was considered a radical step at the time. BBC Radio 1's chart show moved to Fridays in July 2015 but a chart update on Sundays was launched in July 2019.

Period or older-skewing television dramas, such as Downton Abbey, Call the Midwife, Lark Rise to Candleford and Heartbeat are commonly shown on Sunday evenings in the UK; the first of these was Dr Finlay's Casebook in the 1960s. Similarly, Antiques Roadshow has been shown on Sundays on BBC1 since 1979 and Last of the Summer Wine was shown on Sundays for many years until it ended in 2010. On Sundays, BBC Radio 2 plays music in styles which it once regularly played but which are now rarely heard on the station, with programmes such as Elaine Paige on Sunday and Sunday Night is Music Night although more contemporary styles now make up a higher percentage of the station's Sunday output than previously; for example, Kendrick Lamar received a Sunday-night play on the station in March 2022. Even younger-skewing media outlets sometimes skew older on Sundays within the terms of their own audience; for example, BBC Radio 1Xtra introduced an "Old Skool Sunday" schedule in the autumn of 2019.

Many American, Australian and British television networks and stations also broadcast their political interview shows on Sunday mornings.

Sunday is a notable mission-exclusive character in Honkai: Star Rail.

In sports
Major League Baseball usually schedules all Sunday games in the daytime except for the nationally televised Sunday Night Baseball matchup. Certain historically religious cities such as Boston and Baltimore among others will schedule games no earlier than 1:35 PM to ensure time for people who go to religious service in the morning can get to the game in time.

In the United States, professional American football in the National Football League is usually played on Sunday, although Saturday (via Saturday Night Football), Monday (via Monday Night Football), and Thursday (via Thursday Night Football or Thanksgiving) see some professional games. College football usually occurs on Saturday, and high-school football tends to take place on Friday night or Saturday afternoon.

In the UK, some club and Premier League football matches and tournaments usually take place on Sundays. Rugby matches and tournaments usually take place in club grounds or parks on Sunday mornings. It is not uncommon for church attendance to shift on days when a late morning or early afternoon game is anticipated by a local community.

The Indian Premier League schedules two games on Saturdays and Sundays instead of one, also called Double-headers.

One of the remains of religious segregation in the Netherlands is seen in amateur football: The Saturday-clubs are by and large Protestant Christian clubs, who were not allowed to play on Sunday. The Sunday-clubs were in general Catholic and working class clubs, whose players had to work on Saturday and therefore could only play on Sunday.

In Ireland, Gaelic football and hurling matches are predominantly played on Sundays, with the first (previously second) and fourth (previously third) Sundays in September always playing host to the All-Ireland hurling and football championship finals, respectively.

Professional golf tournaments traditionally end on Sunday. Traditionally, those in the United Kingdom ended on Saturday, but this changed some time ago; for example, the Open ran from Wednesday to Saturday up to 1979 but has run from Thursday to Sunday since 1980.

In the United States and Canada, National Basketball Association and National Hockey League games, which are usually played at night during the week, are frequently played during daytime hours - often broadcast on national television.

Most NASCAR Cup Series and IndyCar events are held on Sundays. Most Formula One World Championship races are likewise held on Sundays regardless of time zone/country, while MotoGP holds most races on Sundays, with Middle Eastern races being the exception on Saturday. All Formula One events and MotoGP events with Sunday races involve qualifying taking place on Saturday.

Astrology
Sunday is associated with the Sun and is symbolized by the symbol  ☉ .

Named days

 * Advent Sunday
 * Black Sunday
 * Bloody Sunday
 * Cold Sunday
 * Easter Sunday represents the resurrection of Christ
 * Gaudete Sunday is the third Sunday of Advent.
 * Gloomy Sunday
 * Good Shepherd Sunday is the fourth Sunday of Easter.
 * Laetare Sunday is the fourth Sunday of Lent.
 * Low Sunday, first Sunday after Easter, is also known as the Octave of Easter, White Sunday, Quasimodo Sunday, Alb Sunday, Antipascha Sunday, and Divine Mercy Sunday.
 * Passion Sunday, the fifth Sunday of Lent as the beginning of Passiontide (since 1970 for Roman Catholics in the ordinary form of the rite, the term remains only official among the greater title of the Palm Sunday, which used to be also the "2nd Sunday of Passiontide")
 * Palm Sunday is the Sunday before Easter.
 * Selection Sunday
 * Septuagesima, Sexagesima and Quinquagesima Sunday are the last three Sundays before Lent. Quinquagesima ("fiftieth"), is the fiftieth day before Easter, reckoning inclusively; but Sexagesima is not the sixtieth day and Septuagesima is not the seventieth but is the sixty-fourth day prior. The use of these terms was abandoned by the Catholic Church in the 1970 calendar reforms (the Sundays before Lent are now simply "Sundays in ordinary time" with no special status). However, their use is still continued in Lutheran tradition: for example, "Septuagesimae".
 * Shavuot is the Jewish Pentecost, or 'Festival of Weeks'. For Karaite Jews it always falls on a Sunday.
 * Stir-up Sunday is the last Sunday before Advent.
 * Super Bowl Sunday
 * Trinity Sunday is the first Sunday after Pentecost.
 * Whitsunday "White Sunday" is the day of Pentecost.

title: Sunday


text:
Charlie Parker

Charles Parker Jr. (August 29, 1920 – March 12, 1955), nicknamed "Bird" or "Yardbird", was an American jazz saxophonist, band leader, and composer. Parker was a highly influential soloist and leading figure in the development of bebop, a form of jazz characterized by fast tempos, virtuosic technique, and advanced harmonies. He was a virtuoso and introduced revolutionary rhythmic and harmonic ideas into jazz, including rapid passing chords, new variants of altered chords, and chord substitutions. Parker was primarily a player of the alto saxophone.

Parker acquired the nickname "Yardbird" early in his career while on the road with Jay McShann. This, and the shortened form "Bird", continued to be used for the rest of his life, inspiring the titles of a number of Parker compositions, such as "Yardbird Suite", "Ornithology", "Bird Gets the Worm", and "Bird of Paradise".

Parker was an icon for the hipster subculture and later the Beat Generation, personifying the jazz musician as an uncompromising artist and intellectual rather than just an entertainer.

Childhood
Charles Parker Jr. was born in Kansas City, Kansas, at 852 Freeman Avenue, and raised in Kansas City, Missouri, near Westport and later, in high school, near 15th and Olive Street, to Charles Parker Sr. and Adelaide "Addie" Bailey, who was of mixed Choctaw and African-American background. He attended Lincoln High School in September 1934, but withdrew in December 1935, just before joining the local musicians' union and choosing to pursue his musical career full-time. His childhood sweetheart and future wife, Rebecca Ruffin, graduated from Lincoln High School in June 1935.

Parker began playing the saxophone at age 11, and at age 14 he joined his high school band where he studied under bandmaster Alonzo Lewis. His mother purchased a new alto saxophone around the same time. His father was often required to travel for work, but provided some musical influence because he was a pianist, dancer and singer on the Theatre Owners Booking Association (T.O.B.A.) circuit, later becoming a Pullman waiter or chef on the railways. Parker's mother, Addie, worked nights at the local Western Union office. His biggest influence at that time was a young trombone player named Robert Simpson, who taught him the basics of improvisation.

Early career
In the mid-1930s, Parker began to practice diligently. During this period he mastered improvisation and developed some of the ideas that led to the later development of bebop. In an interview with Paul Desmond, Parker said that he spent three to four years practicing up to 15 hours a day.

Bands led by Count Basie and Bennie Moten certainly influenced Parker. He played with local bands in jazz clubs around Kansas City, Missouri, where he perfected his technique, with the assistance of Buster Smith, whose dynamic transitions to double and triple time influenced Parker's developing style.

In late spring 1936, Parker played at a jam session at the Reno Club in Kansas City. His attempt to improvise failed when he lost track of the chord changes. This prompted Jo Jones, the drummer for Count Basie's Orchestra, to contemptuously remove a cymbal from his drum kit and throw it at his feet as a signal to leave the stage. Rather than becoming discouraged, Parker vowed to practice harder; the incident was a seminal moment in his career and he returned as a new man a year later. Parker proposed to Rebecca Ruffin the same year and the two were married on July 25, 1936. In the fall of 1936, Parker traveled with a band from Kansas City to the Ozarks for the opening of Clarence Musser's Tavern south of Eldon, Missouri. Along the way, the caravan of musicians had a car accident and Parker broke three ribs and fractured his spine. The accident led to Parker's ultimate troubles with painkillers and opioids, especially heroin. Parker struggled with drug use for the rest of his life.

Despite his near-death experience on the way to the Ozarks in 1936, Parker returned to the area in 1937, where he spent a great deal of time woodshedding and developing his sound. In 1938 Parker joined pianist Jay McShann's territory band. The band toured nightclubs and other venues of the southwest, as well as Chicago and New York City. Parker made his professional recording debut with McShann's band.

New York City
In 1939 Parker moved to New York City, to pursue a career in music. He held several other jobs as well. He worked for nine dollars a week as a dishwasher at Jimmie's Chicken Shack, where pianist Art Tatum performed. It was in 1939 in New York that Parker had his musical breakthrough that had begun in 1937 in the Missouri Ozarks. Playing through the changes on the song "Cherokee", Parker discovered a new musical vocabulary and sound that shifted the course of music history.

In 1940, he returned to Kansas City to perform with Jay McShann and to attend the funeral of his father, Charles Sr. He played Fairyland Park in the summer with McShann's band at 75th and Prospect for all-white audiences. The up-side of the summer was his introduction to Dizzy Gillespie by Step-Buddy Anderson near 19th and Vine in the summer of 1940.

In 1942 Parker left McShann's band and played for one year with Earl Hines, whose band included Dizzy Gillespie, who later played with Parker as a duo. This period is virtually undocumented, due to the strike of 1942–1943 by the American Federation of Musicians, during which time few professional recordings were made. Parker joined a group of young musicians, and played in after-hours clubs in Harlem, such as Clark Monroe's Uptown House. These young iconoclasts included Gillespie, pianist Thelonious Monk, guitarist Charlie Christian, and drummer Kenny Clarke. According to Mary Lou Williams, the group was formed in order "to challenge the practice of downtown musicians coming uptown and 'stealing' the music." She recalled: "Monk and some of the cleverest of the young musicians used to complain: 'We'll never get credit for what we're doing.' They had reason to say it... In the music business the going is tough for original talent. Everybody is being exploited through paid-for publicity and most anybody can become a great name if he can afford enough of it. In the end the public believes what it reads. So it is often difficult for the real talent to break through... Anyway, Monk said: 'We're going to get a big band started. We're going to create something they can't steal, because they can't play it.'"

Bebop
One night in 1939, Parker was playing "Cherokee" in a practice session with guitarist William "Biddy" Fleet when he hit upon a method for developing his solos that enabled one of his main musical innovations. He realized that the 12 semitones of the chromatic scale can lead melodically to any key, breaking some of the confines of simpler jazz soloing. He recalled: "I was jamming in a chili house on Seventh Avenue between 139th and 140th. It was December 1939. Now I'd been getting bored with the stereotyped changes that were being used all the time at the time, and I kept thinking there's bound to be something else. I could hear it sometimes but I couldn't play it ... Well, that night I was working over 'Cherokee' and, as I did, I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes, I could play the thing I'd been hearing. I came alive."

Early in its development, this new type of jazz was rejected by many of the established, traditional jazz musicians who disdained their younger counterparts. The beboppers responded by calling these traditionalists "moldy figs". However, some musicians, such as Coleman Hawkins and Tatum, were more positive about its development, and participated in jam sessions and recording dates in the new approach with its adherents.

Because of the two-year Musicians' Union ban of all commercial recordings from 1942 to 1944, much of bebop's early development was not captured for posterity. As a result, it gained limited radio exposure. Bebop musicians had a difficult time gaining widespread recognition. It was not until 1945, when the recording ban was lifted, that Parker's collaborations with Dizzy Gillespie, Max Roach, Bud Powell and others had a substantial effect on the jazz world. (One of their first small-group performances together was rediscovered and issued in 2005: a concert in New York's Town Hall on June 22, 1945.) Bebop soon gained wider appeal among musicians and fans alike.

On November 26, 1945, Parker led a record date for the Savoy label, marketed as the "greatest Jazz session ever". Recording as Charlie Parker's Reboppers, Parker enlisted such sidemen as Gillespie and Miles Davis on trumpet, Curley Russell on bass and Max Roach on drums. The tracks recorded during this session include "Ko-Ko", "Billie's Bounce", and "Now's the Time".

In December 1945, the Parker band traveled to an unsuccessful engagement at Billy Berg's club in Los Angeles. Most of the group returned to New York, but Parker remained in California, cashing in his return ticket to buy heroin. He experienced great hardship in California, and was briefly jailed after setting the bed sheets of his Los Angeles hotel room on fire and then running naked through the lobby while intoxicated, after which he was committed to the Camarillo State Mental Hospital for six months.

When Parker received his discharge from the hospital, he was clean and healthy. Before leaving California, he recorded "Relaxin' at Camarillo" in reference to his stay in the mental hospital. However, when he returned to New York he resumed his heroin usage. During this time he still managed to record dozens of sides for the Savoy and Dial labels, which remain some of the high points of his recorded output. Many of these were with his so-called "classic quintet" including Davis and Roach.

In 1952, Parker and Gillespie released an album entitled Bird and Diz.

Charlie Parker with Strings
A longstanding desire of Parker's had been to perform with a string section. He was a keen student of classical music, and contemporaries reported he was most interested in the music and formal innovations of Igor Stravinsky and longed to engage in a project akin to what later became known as Third Stream, a new kind of music, incorporating both jazz and classical elements as opposed to merely incorporating a string section into performance of jazz standards. On November 30, 1949, Norman Granz arranged for Parker to record an album of ballads with a mixed group of jazz and chamber orchestra musicians. Six master takes from this session became the album Charlie Parker with Strings: "Just Friends", "Everything Happens to Me", "April in Paris", "Summertime", "I Didn't Know What Time It Was", and "If I Should Lose You".

Jazz at Massey Hall
In 1953, Parker performed at Massey Hall in Toronto, joined by Gillespie, Mingus, Powell and Roach. The concert happened at the same time as a televised heavyweight boxing match between Rocky Marciano and Jersey Joe Walcott, so the musical event was poorly attended. Mingus recorded the concert, resulting in the album Jazz at Massey Hall. At this concert, Parker played a plastic Grafton saxophone.

Death
Parker died on March 12, 1955, in the suite of his friend and patron Baroness Pannonica de Koenigswarter at the Stanhope Hotel in New York City, while watching The Dorsey Brothers' Stage Show on television. The official causes of death were lobar pneumonia and a bleeding ulcer, but Parker also had advanced cirrhosis and had suffered a heart attack. The coroner who performed his autopsy mistakenly estimated Parker's 34-year-old body to be between 50 and 60 years of age.

Since 1950, Parker had been living in New York City with his common-law wife, Chan Berg, the mother of his son, Baird (1952-2014), and his daughter, Pree (who died at age 3). He considered Chan his wife, although he never married her, nor did he divorce his previous wife, Doris, whom he had married in 1948. His marital status complicated the settling of Parker's estate and would ultimately serve to frustrate his wish to be quietly interred in New York City.

Dizzy Gillespie paid for the funeral arrangements and organized a lying-in-state, a Harlem procession officiated by Congressman and Reverend Adam Clayton Powell Jr., as well as a memorial concert. Parker's body was flown back to Missouri, in accordance with his mother's wishes. Berg criticized Doris and Parker's family for giving him a Christian funeral, even though they knew he was an atheist. Parker was buried at Lincoln Cemetery in Missouri, in a hamlet known as Blue Summit, located close to I-435 and East Truman Road.

Parker's estate is managed by Jampol Artist Management.

Some amount of controversy continued after Parker's burial in the Kansas City area. His tomb was engraved with the image of a tenor saxophone, though Parker is primarily associated with the alto saxophone. Later, some people wanted to move Parker's remains to reinforce redevelopment of the historic 18th and Vine area.

Personal life
Parker's life was riddled with mental health problems and an addiction to heroin. Although it is unclear which came first, his addiction to opiates began at the age of 16, when he was injured in a car crash and a doctor prescribed morphine for the pain. The addiction that stemmed from this incident led him to miss performances, and to be considered unreliable. In the jazz scene, heroin use was prevalent and the substance could be acquired with little difficulty.

Although he produced many brilliant recordings during this period, Parker's behavior became increasingly erratic. Heroin was difficult to obtain once he moved to California, where the drug was less abundant, so he used alcohol as a substitute. A recording for the Dial label from July 29, 1946, provides evidence of his condition. Before this session, Parker drank a quart of whiskey. According to the liner notes of Charlie Parker on Dial Volume 1, Parker missed most of the first two bars of his first chorus on the track "Max Making Wax". When he finally did come in, he swayed wildly and once spun all the way around, away from his microphone. On the next tune, "Lover Man", producer Ross Russell physically supported Parker. On "Bebop" (the final track Parker recorded that evening), he begins a solo with a solid first eight bars; on his second eight bars, however, he begins to struggle, and a desperate Howard McGhee, the trumpeter on this session, shouts, "Blow!" at him. Charles Mingus considered this version of "Lover Man" to be among Parker's greatest recordings, despite its flaws. Nevertheless, Parker hated the recording and never forgave Ross Russell for releasing it. He re-recorded the tune in 1951 for Verve. Parker's life took a turn for the worse in March 1954 when his three-year-old daughter Pree died of cystic fibrosis and pneumonia. He attempted suicide twice in 1954, which once again landed him in a mental hospital.

Artistry
Parker's style of composition involved interpolation of original melodies over existing jazz forms and standards, a practice known as contrafact and still common in jazz today. Examples include "Ornithology" (which borrows the chord progression of jazz standard "How High the Moon" and is said to be co-written with trumpet player Little Benny Harris), and "Moose The Mooche" (one of many Parker compositions based on the chord progression of "I Got Rhythm"). The practice was not uncommon prior to bebop, but it became a signature of the movement as artists began to move away from arranging popular standards and toward composing their own material. Perhaps Parker's most well-known contrafact is "Koko", which is based on the chord changes of the popular bebop tune "Cherokee", written by Ray Noble.

While tunes such as "Now's The Time", "Billie's Bounce", "Au Privave", "Barbados", "Relaxin' at Camarillo", "Bloomdido", and "Cool Blues" were based on conventional 12-bar blues changes, Parker also created a unique version of the 12-bar blues for tunes such as "Blues for Alice", "Laird Baird", and "Si Si." These unique chords are known popularly as "Bird Changes". Like his solos, some of his compositions are characterized by long, complex melodic lines and a minimum of repetition, although he did employ the use of repetition in some tunes, most notably "Now's The Time".

Parker contributed greatly to the modern jazz solo, one in which triplets and pick-up notes were used in unorthodox ways to lead into chord tones, affording the soloist more freedom to use passing tones, which soloists previously avoided. Parker was admired for his unique style of phrasing and innovative use of rhythm. Through his recordings and the popularity of the posthumously published Charlie Parker Omnibook, Parker's identifiable style dominated jazz for many years to come.

Other well-known Parker compositions include "Ah-Leu-Cha", "Anthropology" (co-written with Gillespie), "Confirmation", "Constellation", "Moose the Mooche", "Scrapple from the Apple" and "Yardbird Suite", the vocal version of which is called "What Price Love", with lyrics by Parker.

Miles Davis once said, "You can tell the history of jazz in four words: Louis Armstrong. Charlie Parker".

Awards

Grammy Award

Grammy Hall of Fame

Recordings of Charlie Parker were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance".

Inductions

Government honors
In 1995, the U.S. Postal Service issued a 32-cent commemorative postage stamp in Parker's honor.

In 2002, the Library of Congress honored his recording "Ko-Ko" (1945) by adding it to the National Recording Registry.

Charlie Parker residence
From 1950 to 1954, Parker lived with Chan Berg on the ground floor of the townhouse at 151 Avenue B, across from Tompkins Square Park on Manhattan's Lower East Side. The Gothic Revival building, which was built about 1849, was added to the National Register of Historic Places in 1994 and was designated a New York City landmark in 1999. Avenue B between East 9th and East 10th Streets was given the honorary designation "Charlie Parker Place" in 1992.

Musical tributes

 * Jack Kerouac's spoken poem "Charlie Parker" to backing piano by Steve Allen on Poetry for the Beat Generation (1959)
 * In 2014, saxophonist and bandleader Aaron Johnson produced historically accurate recreations of the Charlie Parker with Strings albums.
 * Lennie Tristano's overdubbed solo piano piece "Requiem" was recorded in tribute to Parker shortly after his death.
 * American composer Moondog wrote his famous "Bird's Lament" in his memory; published on the 1969 album Moondog.
 * Since 1972, the Californian ensemble Supersax harmonized many of Parker's improvisations for a five-piece saxophone section.
 * In 1973, guitarist Joe Pass released his album I Remember Charlie Parker in Parker's honor.
 * Weather Report's jazz fusion track and highly acclaimed big band standard "Birdland", from the Heavy Weather album (1977), was a dedication by bandleader Joe Zawinul to both Charlie Parker and the New York 52nd Street club itself.
 * The biographical song "Parker's Band" was recorded by Steely Dan on its 1974 album Pretzel Logic.
 * Avant-garde jazz trombonist George E. Lewis recorded Homage to Charles Parker (1979).
 * The opera Charlie Parker's Yardbird by Daniel Schnyder, libretto by Bridgette A. Wimberly, was premiered by Opera Philadelphia on June 5, 2015, with Lawrence Brownlee in the title role.
 * The name of British 1960s blues-rock band The Yardbirds was at least partially inspired by Parker's nickname.
 * Charles Mingus' song "Reincarnation of a Lovebird"
 * In 1993, Anthony Braxton recorded a 2-CD album titled Charlie Parker Project, released in 1995. This material was re-released in 2018 as part of an 11-CD set titled Sextet (Parker) 1993.

Other tributes

 * In 1949, the New York night club Birdland was named in his honor. Three years later, George Shearing wrote "Lullaby of Birdland", named for both Parker and the nightclub.
 * The 1957 short story "Sonny's Blues" by James Baldwin features a jazz/blues playing virtuoso who names Bird as the "greatest" jazz musician, whose style he hopes to emulate.
 * In 1959, Jack Kerouac completed his only full-length poetry work, Mexico City Blues, with two poems about Parker's importance, writing in those works that Parker's contribution to music was comparable to Ludwig van Beethoven's.
 * The 1959 Beat comedy album How to Speak Hip, by comedians Del Close and John Brent, lists the three top most "uncool" actions (both in the audio and in the liner notes) as follows: "It is uncool to claim that you used to room with Bird. It is uncool to claim that you have Bird's axe. It is even less cool to ask 'Who is Bird?'"
 * A memorial to Parker was dedicated in 1999 in Kansas City at 17th Terrace and The Paseo, near the American Jazz Museum located at 18th and Vine, featuring a 10 ft tall bronze head sculpted by Robert Graham.
 * The Charlie Parker Jazz Festival is a free two-day music festival that takes place every summer on the last weekend of August in Manhattan, New York City, at Marcus Garvey Park in Harlem and Tompkins Square Park in the Lower East Side, sponsored by the non-profit organization City Parks Foundation.
 * The Annual Charlie Parker Celebration is an annual festival held in Kansas City, Kansas since 2014. It is held for 10 days and celebrates all aspects of Parker, from live jazz music and bootcamps, to tours of his haunts in the city, to exhibits at the American Jazz Museum.
 * In the short-story collection Las armas secretas (The Secret Weapons), Julio Cortázar dedicated "El perseguidor" ("The Pursuer") to Charlie Parker. This story examines the last days of a drug-addicted saxophonist through the eyes of his biographer.
 * In 1981, jazz historian Phil Schaap began to host Bird Flight, a radio show on WKCR New York dedicated entirely to Parker's music. The program continues to be broadcast on WKCR in 2022.
 * In 1984, modern dance choreographer Alvin Ailey created the piece For Bird – With Love in honor of Parker. The piece chronicles his life from his early career to his failing health.
 * A biographical film called Bird, starring Forest Whitaker as Parker and directed by Clint Eastwood, was released in 1988.
 * In 1999 the Spanish metal band Saratoga created the song Charlie se Fue in honor of Charlie Parker, for the album Vientos de Guerra.
 * In 2005, the Selmer Paris saxophone manufacturer commissioned a special "Tribute to Bird" alto saxophone, commemorating the 50th anniversary of Parker's death (1955–2005).
 * Parker's performances of "I Remember You" (recorded for Clef Records in 1953, with the Charlie Parker Quartet, comprising Parker on alto sax, Al Haig on piano, Percy Heath on bass, and Max Roach on drums) and "Parker's Mood" (recorded for the Savoy label in 1948, with Parker on alto sax, John Lewis on piano, Curley Russell on bass, and Max Roach on drums) were selected by literary critic Harold Bloom for inclusion on his shortlist of the "twentieth-century American Sublime", the greatest works of American art produced in the 20th century. A vocalese version of "Parker's Mood" was a popular success for King Pleasure.
 * Jean-Michel Basquiat created many paintings to honor Charlie Parker, including Charles the First, CPRKR, Bird on Money, Bird of Paradise , and Discography I.
 * Charlie Watts, drummer for the Rolling Stones, wrote a children's book entitled Ode to a High Flying Bird as a tribute to Parker. Watts has cited Parker as a large influence on his life when he was a boy learning jazz.
 * The 2014 film Whiplash repeatedly refers to the 1937 incident at the Reno Club, changing the aim point of the cymbals to his head and pointing to it as evidence that genius is not born but made by relentless practice and pitiless peers.
 * Parker is referenced in the 2023 video game Marvel's Spider-Man 2. In the game, there is a side mission in which Parker's Saxophone is stolen and must be recovered by Miles Morales / Spider-Man. Once recovered, a character discusses Parker's music, making reference to his song, "Ornithology", and discussing his impact on jazz and hip hop.
 * Parker is mentioned in the comic strip The Far Side and Gary Larson invites his audience to find amusement in what he perceives as Parker's disdain for introspective or slow-moving New Age music; implying that the legendary saxophonist would find it "hellishly" insipid.

title: Charlie Parker


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Jazz band

A jazz band (jazz ensemble or jazz combo) is a musical ensemble that plays jazz music. Jazz bands vary in the quantity of its members and the style of jazz that they play but it is common to find a jazz band made up of a rhythm section and a horn section.

The size of a jazz band is closely related to the style of jazz they play as well as the type of venues in which they play. Smaller jazz bands, also known as combos, are common in night clubs and other small venues and will be made up of three to seven musicians; whereas big bands are found in dance halls and other larger venues.

Jazz bands can vary in size from a big band, to a smaller trio or quartet. Some bands use vocalists, while others are purely instrumental groups.

Jazz bands and their composition have changed many times throughout the years, just as the music itself changes with personal interpretation and improvisation of its performers.

Combos
It is common for musicians in a combo to perform their music from memory. The improvisational nature of these performances make every show unique.

Instrumentation

The rhythm section consists of the percussion, double bass or bass guitar, and usually at least one instrument capable of playing chords, such as a piano, guitar, Hammond organ or vibraphone; most will usually have more than one of these. The standard rhythm section is piano, bass, and drums.

The horn section consists of a woodwind section and a brass section, which play the melody.

Banjo
The banjo has been used in jazz since the earliest jazz bands. The earliest use of the banjo in a jazz band was by Frank Duson in 1917, however Laurence Marrero claims it became popular in 1915.

There are three common types of banjo, the plectrum banjo, tenor banjo, and cello banjo. Over time, the four-stringed tenor banjo became the most common banjo used in jazz. The drum-like sound box on the banjo made it louder than the acoustic guitars that were common with early jazz bands, and banjos were popular for recording.

Bass
Beginning in the early 1950s, some jazz bass players began to use the electric bass guitar in place of the double bass.

Drums
Jazz drumming is the art of playing percussion, usually the drum set, in jazz styles ranging from 1910s-style Dixieland jazz to 1970s-era jazz-rock fusion and 1980s-era Latin jazz. Stylistically, this aspect of performance was shaped by its starting place, New Orleans, as well as numerous other regions of the world, including other parts of the United States, the Caribbean, and Africa.

Jazz required a method of playing percussion different from traditional European styles, one that was easily adaptable to the different rhythms of the new genre, fostering the creation of jazz drumming's hybrid technique.

Clarinet
The clarinet is a woodwind instrument with a single-reed mouthpiece. A clarinet player is known as a clarinetist. Originally, the clarinet was a central instrument in jazz, beginning with the New Orleans players in the 1910s. It remained a signature instrument of jazz through much of the big band era into the 1940s. Larry Shields was the clarinetist for the Original Dixieland Jazz Band, the first jazz band to record commercially in 1917. The American players Ted Lewis and Jimmie Noone were pioneers of the instrument in jazz bands. The B♭ soprano clarinet was the most common instrument, but a few early jazz musicians such as Alcide Nunez preferred the C soprano clarinet, and many New Orleans jazz brass bands have used an E♭ soprano clarinet. Swing clarinetists such as Benny Goodman, Artie Shaw, and Woody Herman led successful big bands and smaller groups from the 1930s onward.

With the decline of the big bands' popularity in the late 1940s, the clarinet faded from its prominent position in jazz and the saxophone rose in importance in many jazz bands, probably because it uses a less complicated fingering system. But the clarinet did not entirely disappear. In the late 50s, traditional jazz experienced a revival, with the notable example of clarinetist Acker Bilk's Bristol Paramount Jazz Band. Some of the works of Bilk's jazz band reached the pop charts.

Saxophone section
In the saxophone section, all of the saxophones will play a similar melodic line, but the baritone sax doubles by occasionally joining in with the bass trombone and bass to play the bass line. A big band saxophone section typically consists of two alto saxophones, two tenor saxophones, and one baritone saxophone.

Violin
Jazz violin is the use of the violin or electric violin to improvise solo lines. Although the violin has been used in jazz recordings since the first decades of the 20th century, it is more commonly associated with folk music than jazz. Jazz musician Milt Hinton claimed that the decline in violin players coincided with the introduction of sound movies, as many violin players were used as accompaniment for silent films.

Vocalists
The definition of a jazz vocalist can be unclear because jazz has shared a great deal with blues and pop music since the 1920s. In their book Essential Jazz, Henry Martin and Keith Waters identify five main characteristics that identify jazz singing, three of which are: "Loose phrasing [...], use of blue notes [...], [and] free melodic embellishment." Often the human voice can act in place of a brass section in playing melodies, both written and improvised.

Scat singing is vocal improvisation with wordless vocables, nonsense syllables or without words at all. Though scat singing is improvised, the melodic lines are often variations on scale and arpeggio fragments, stock patterns and riffs, as is the case with instrumental improvisers. The deliberate choice of scat syllables is also a key element in vocal jazz improvisation. Syllable choice influences the pitch articulation, coloration, and resonance of the performance.

Repertoire
Another important aspect of jazz is improvisation ("jams"). Bands playing in this fashion fall under the category of jam bands. A common way to incorporate improvisation is to feature solo performances from band members made up on the spot, allowing them to showcase their skill.

title: Jazz band