IN THE EARLY 50’S, KING PLEASURE, A MUSIC STUDENT AT CONNECTICUT'S HARTFORD CONSERVATORY OF MUSIC, ALONG WITH OTHER JAZZ STUDENTS SUCH AS SAX MAN G.G. GRICE AND PIANO STUDENT HORACE SILVER. ALL THREE FOLLOWED THEIR MUSICAL DREAMS OF CREATING NEW MUSICAL ARRANGEMENTS.
STRIDING EVERY NOTE THAT CAME OUT OF JAMES MOODY’S COMPOSITION SAXOPHONE SOLO.
PUSHING MOODY'S RENDITION TO ONE OF THE FOREMOST 78'S OF THE PROGRESSIVE JAZZ ERA OFF THE CHARTS. KING PLEASURES RECORDED RENDITION HOOKED-UP WITH EVERY RAPPER SINCE THE EARLY 50'S, TO TRY TO DEVELOP THEIR OWN INDIVIDUAL STYLES. (ONE, DIGITAL UNDERGROUND.)
ADVANCING, WHAT WAS KNOWN AS JAZZ, TO PROGRESSIVE JAZZ, TO BEE-BOP TO RAP, AND AT LONG LAST THE HIP HOP ERA OF TODAY, IT TOOK SEVERAL YEARS FOR KING PLEASURE'S RAP TO GROW TO THE POINT WHERE THE MUSIC WORLD PROGRESSED FROM PROGRESSIVE RAP SOLOS TO CONVENTIONAL RAP. ( NO DEROGATORY WORDING.) INTO WHAT IS NOW KNOWN AS "HARD CORE" RAP, AND "GANGSTA RAP"
RAP WRITTEN AND CONDUCTED INDIVIDUALY. EACH GROUP FORMING A NAME OF THEIR OWN. IDENTIFYING THEIR OWN INDIVIDUAL STYLE TO THEIR LYRIC, AS LYRICIST, GRAND MASTER FLASH AND THE FURIOUS FIVE CREATED:
THE SUGAR HILL GANG, RUN DMC AND CYPRESS HILL, INTRODUCED WHAT WAS FINALLY ESTABLISHED AS THE CROSSOVER. NOW KNOWN AS OLD SCHOOL.
IT IS BELIEVED THAT Mr. PLEASURE CREATED THE FIRST JAZZ VERSION OF RAP. HIS LYRICAL VERSION OF JAMES MOODY'S, "MOODY'S MOOD FOR LOVE". AN ALREADY UNFORGETTABLE SAXOPHONE INSTRAMENTAL SOLO THAT TOPPED THE CHARTS, INTRODUCED THE FIRST INITIAL RAP VOCAL. TRANSFORMING JAMES MOODY'S SAXOPHONE SOLO INSTRUMENTAL INTO:
"THERE I GO, THERE I GO, THERE I GO, PRETTY BABY YOU ARE THE SOUL THAT SNAPS MY CONTROL. IT'S A FUNNY THING BUT EVERY TIME YOU’RE NEAR ME....
SOMETIMES I WONDER HOW I KEEP FROM GOING UNDER" -"THE MESSAGE". THE SUGAR HILL GANGS - "RAPERS DELIGHT"
HIP HOP CAME ABOUT THE SAME WAY BEE-BOP OR PROGRESSIVE JAZZ WAS ATTACHED TO JAZZ, COMPUSING ALL TYPES OF JAZZ. RAP ESCALATED INTO HARDCORE RAP, AND GANSTA RAP. WITH THE TERMS GANGSTA RAP, HARD CORE, MAKING IT REAL, THROUGH EXPLICIT EVERY DAY RAP LYRICS. (TODAY, IF YOU REALLY LISTENED TO PROGRESSIVE JAZZ THE NOTES WILL SOUND DOWN A DIRTY. (IT WAS CALLED SOUL THEN. THROW IN TONS 0f BLING BLING, FOR THE SOUL, THE APPAREL THAT GOES WITH IT, AND YOU'VE CREATED THE WORD HIP HOP JUST AS THE PROGRESSIVE JAZZ ERA ASSOCIATED THE WORDS BE-BOP TO EXCLUSIVE INSTRUMENTAL RENDITIONS THAT ONLY A FEW YOUNGER JAZZ MUSICIANS COULD EXECUTE.
PROGRESSIVE JAZZ MUSIANS GOT AWAY FROM THE ZOOT SUIT OF THE 40'S. INTRODUCING THE SHORT SUIT COAT AND SPORT COAT JACKETS. THE CREASED STRAIGHT LEG NO CUFF PANTS WITH THE BOTTOM OF THE PANTS CUT ON AN ANGLE FROM THE FRONT TOP OF THE SHOE TO THE BOTTOM OF THE HEAL AT THE BACK OF THE SHOE, ALONG WITH THE BILLY EXSTEINE ROLL COLOR SHIRT IN PASTEL COLORS.
THE BEE-BOP CAP AND SPORT ATTIRE WAS INTRODUCED BY DIZZY GILLESPIE, ( AN OFF-SHOOT OF THE "ZOOT SUIT" CREATED DURING THE JAZZ ERA.) THE LONG WATCH CHAINS WORN FROM THE BELT TO THE TOP OF THE SHOES AND BACK SWINGS FORWARD TO THE BLING BLING THAT WAS INTRODUCED BY HIP HOP RAPPERS, DJ'S AND MIC'S.
TO TAKE THE BLING BLING ONE STEP FURTHER, THE EUROPEAN MARKET AND ASIAN (JAPAN & KOREA MAINLY), ACCEPTED JAZZ AND BEE - BOP BEFORE ITS BIRTH PLACE DID AND STILL SAVORS IT AS AMERICAN CLASSICAL MUSIC. REFERRING TO BEE- BOP AS PROGRESSIVE JAZZ TODAY.
HIP HOP SALES PEAKED AS PROGRESSIVE JAZZ DID. CREATING EXTENSION HIP HOP. EXTENSION HIP HOP IS WHEN A , "STYLIST'" VOCALISTS RENDITION , IS INTRODUCED SEPARATELY, CREATING A MELODY WITHIN. HIP HOP SALES PEAKED IN THESE COUNTRIES, WELL BEFORE THE CROSSOVER AND EXTENSION HIP HOP, HERE IN AMERICA. THAT'S WHY THERE IS SO MUCH BLING BLING AND JAZZ RENDITIONS IN THE WORLD TODAY.* $-$-TRUMPS
"Our core belief is that advanced beliefs and styles will continue to increase within the clothing market year after year, as it has done in the past. And deliver the styles that make the industry grow and prosper through inovatiion."
Without a doubt, pushing the Italian male fashion world into modified styles of the American Jazz musicians that performed in Europe in the nineteen-twenties, thirties,and forties. Introducing their inovated styles to the fashion world. Including, the thirty inch knee tapered trousers to a sixteen inch cuff with a chest high fitted waste band that were worn with three inch width colored suspenders. The high waistband trousers, featuring three folded front pleats on both sides of the fly. The middle pleat tapered all the way down to the bottom of each pants leg forming a sharp crease over one inch cuffed trouser legs. (Knocking out the exact opposite fad of bellbottom trousers the Italian designers introduce at that time. Bellbottom style came back in the seventies, during the short lived disco era).
To be continued
