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A pretty girl is like a melody you tube

A compulsively readable debut with a narrator you just can't trust, perfect for fans of Natasha Preston. As a child, Cassidy Pratt accidentally started a fire that killed her neighbor. At least, that's what she's been told. She can't remember anything from that day. She's pretty sure she didn't mean to do it.

SEE VIDEO BY TOPIC: Artie Shaw - A Pretty Girl Is Like a Melody


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Maybe two, three weeks. Usually when I get to sketching — I get so involved I stop practising my horn. So when I get a job, I can't touch it. Hey David! If I don't have my horn next to me I feel like I'm not …".

He has his sketchpad resting on one leather-clad knee. Gently, he draws arcs and dark lines on to the paper: long-limbed figures with distended stomachs and wide thighs and bird lips. Their heads look like blackberries. Once one is finished — and it might be a few lines or a complicated picture — he turns the page and starts another. Between pen strokes, he talks. His voice is a legendary rasp: words come out in a long guttural cough. When he laughs, it's like a gargle in the throat.

When he smiles, which is rarely, he frowns, too. His eyes are mild but unbearably penetrating: he will look up from the pad, slowly, and freeze a question in its tracks. So I mostly just let him talk. He grants me an hour or so in his Montreal hotel room. Miles is smiling, though, in the crescent of a particularly bright period. He is the last, grandest and most imperious figure from a jazz tradition that has broken up in disarray.

The Prince of Darkness, the little organiser, the cat everybody knows by one name — Miles. Forty years have seen a thousand changes in his music, yet it all retains the spearing imprint of an extraordinarily particular trumpet sound. A modern sound, terse, fresh-minted, newly-spoken — it always sounds like it was made just now. Charlie Parker's hesitant partner in Bird's Savoy masterpieces from ; touchstone in the genesis of the Cool , four years later.

Scuffler in and out of junk, then presiding maestro of the Great Quintet with Coltrane. Sketcher in Spain, and purveyor of various kinds of blue. Through it all was the silvery swathe of the trumpet. It remains a voice as personal as Billie Holiday's, Louis Armstrong's, James Brown's, Michael Jackson's: a small, funky, hip, spare, wisely sinful sound. Miles worked past his acoustic 60s quintet, a group that played as if it were suspended in vast, airless darkness, and soaked in the electric bath of Bitches Brew.

His group got freakier, blacker, bloated with intensity, finally going supernova in the Japanese concerts of Agharta and Pangaea. Yet the trumpet was still a parched little voice in the storm. Reading on mobile? Through that record, and the subsequent Star People and We Want Miles, besides a series of dishearteningly variable gigs, Miles felt his way back via a mix of his splayed electric brew and a firmer, funkier sound.

The corner was turned with last year's Decoy: concise, stinging ferocity. With his latest tour band, the music was warm and outgoing by contrast: horns and guitar improvised over taut, brittle rhythms, and in a centrepiece of Cyndi Lauper's Time After Time the trumpet sang as bittersweet as ever. You're Under Arrest is the brightest, airiest Miles LP for 20 years, a set tailored to radio possibilities — hence Time After Time and a pretty hum through Michael Jackson's Human Nature — without surrendering to faceless dance music.

Nobody could jive to the twisting Katia or the title track. It sounds, still, like Miles; no one else. Live, Davis's band whip the material into a long, intricate, abstract fresco of badass flourishes, backbeat stomping and brief, violent solos. Davis doctors them through the switchbacks of the sound: it's a dazzling concentration that must exhaust him.

I keep playing and editing and playing and editing myself out … and I try and stop on a high point to leave someone else something to do. But when I hear it through, things that sounded bad for a long time sound bad only a few seconds. But it happens so fast that when you listen to it again, you tell where you check yourself. If you jump on a horse and see he's on the wrong foot, you keep checking him until he gets to the fence — that's what I do when I'm playing.

It's unfinished. I like to find a place to leave for someone else to finish it. That's where the high comes in. If I know I left a perfectly good spot for someone else to come in — like, there it is! Sell out your plans! Specially when you put all that time in. But I don't sing. I have to play. When you do it, it seems like forever if you're not doing it well. When I hear it again I think — damn, I thought that was too long. I said, Bob, don't fish around for a tone centre.

There's certain numbers where he just stands up and goes doo-dur-dum- trying to find the key. The key is already there!

I say, Bob, when you start playing just try and finish what somebody's left. Don't just play till it dies. If he tries to find a tone centre, he'll just fuck around. Play flatted fifths. I hate flatted fifths. I say, listen man, when you play you gotta help the rhythm section. Don't just lean on them. Tony [Williams] used to have that trouble with Wayne [Shorter]. You followin' me? Wayne'd get drunk and try and play himself sober. They'd play like this" — Miles bangs a Perrier bottle on the table — "and Wayne'd just go durrr-durr-durr, for maybe 30 minutes.

And Tony'd get tired of it. Wayne was just leaning on him. They know when the highs come up, what to push — but when a guy's just playing, you have to help the rhythm section.

A lot of tenor players get into this kind of shit —". He gets up suddenly and hunches up in front of me, a mime of a convoluted tenor solo twisting his arms. I notice his hands, the fingers manicured but as starved and stick-like as a crone's. He sits again and takes back the pad. And the rhythm players? I have Steve [Thornton, percussion] up there now, I tell him to play single strokes. And I got Vince [Wilburn] up there, he's got a nice touch, he doesn't lose time.

You remember that, don't you? His idol is Freddie White. Daryl [Jones, bass] and Vince played together in school in Chicago. Seems to me that guys like that only ever come up playing these tight, funky rhythms. The percussive looseness discovered by Elvin Jones and Tony Williams has stiffened up again because young players don't even want to try and play that way.

The way every rock'n'roll record sounds like something else but not all together. Everything other drummers play, if you're playing drums, they all hear. They know how to play everything now. It's the flood of records. Drums and trumpet and bass … it's like a big tree of goodies. You can just buy this record and pick this off and get this bass and flap it up!

The good drummers don't play all that in-between stuff, only the bad drummers do to break up the time. Because they can't lay in the pocket. He has to learn that basic stuff first. He's in his 20s. He'll go buy a jacket like you got — no, a grey one. Grey, black, white — but he won't do this. Davis gestures to his own clothes.

Sumptuous black leather trousers, a beautiful red and black wrapover. Me, I like to wear shit that shines. A l'il chain here. See this shit here? I put on all brown last night.

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Maybe two, three weeks. Usually when I get to sketching — I get so involved I stop practising my horn. So when I get a job, I can't touch it. Hey David!

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A Pretty Girl Is Like A Melody - THE GREAT ZIEGFELD

I n , Louis Tomlinson was at the centre of a brawl at LAX airport in Los Angeles involving a photographer and a small crowd of fans. At the time, he said he was protecting his partner, Eleanor Calder, from a paparazzo who, in turn, claimed Tomlinson had grabbed him and dragged him to the floor. And the situation definitely got out of hand and people were goading me. I was already on edge and, in that headspace, it got the better of me. There have been mixed emotions.

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The bass clef staff is left open for you to write in the notes of each chord. The sea is high. Piano Battle. Your love when there's so much. Eyes haven't seen. You're straightening out my past and opening.

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I'm talking a nice simple idea, something that would only last about 5 minutes. If you like the melody you can save it and use it as if it were your own. Traditional and non-traditional first names for girls like Skylar, Ryleigh, Erika, Britney.

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