Stop

Stop may refer to:

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Mr. Bean

Mr. Bean is a British sitcom created by Rowan Atkinson and Richard Curtis, and starring Atkinson in the title role. Atkinson co-wrote all fifteen episodes with either Curtis, Robin Driscoll, or both, with Ben Elton co-writing the pilot. Thirteen of the episodes were broadcast on ITV, from the pilot on 1 January 1990, until "Goodnight Mr. Bean" on 31 October 1995. A clip show, "The Best Bits of Mr. Bean", was broadcast on 15 December 1995, and one episode, "Hair by Mr. Bean of London", was not broadcast until 2006 on Nickelodeon.

Based on a character originally developed by Atkinson while he was studying for his master's degree at Oxford University, the series follows the exploits of Mr. Bean, described by Atkinson as "a child in a grown man's body", in solving various problems presented by everyday tasks and often causing disruption in the process. Bean rarely speaks, and the largely physical humour of the series is derived from his interactions with other people and his unusual solutions to situations. The series was influenced by physical performers such as Jacques Tati and comic actors from silent films.

Louis Armstrong

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Louis Armstrong (August 4, 1901 – July 6, 1971), nicknamed Satchmo or Pops, was an American jazz trumpeter, composer and singer who became one of the pivotal and most influential figures in jazz music. His career spanned from the 1920s to the 1960s, covering many different eras of jazz.

Coming to prominence in the 1920s as an "inventive" trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. With his instantly recognizable gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also skilled at scat singing.

Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong's influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular African-American entertainers to "cross over", whose skin color was secondary to his music in an America that was extremely racially divided. He rarely publicly politicized his race, often to the dismay of fellow African-Americans, but took a well-publicized stand for desegregation during the Little Rock Crisis. His artistry and personality allowed him socially acceptable access to the upper echelons of American society which were highly restricted for black men of his era.