IN: Richard Charles "Chuck" Bown Jr. (born February 22, 1954) is a former NASCAR champion. His last ride came in 1999. He currently lives with his wife in Asheboro, North Carolina. He is the brother of former fellow NASCAR competitor Jim Bown.

In 1986, Bown returned to NASCAR, running in the Busch Series. His first start came at the Goody's 300, where he started 28th but finished 40th after wrecking his No. 67 Buick early in the race. He made his only other start of the year at the Oxford 250 at Oxford Plains Speedway, where he's started 13th and won his first career Busch race. The following season, Bown ran three races in the No. 7/56 Pontiac, but did not finish a race. In 1989, Bown ran his first full season in Busch driving the No. 63 Pontiac at Lanier Speedway and at South Boston Speedway. He finished the season with 5 top-5s and 12 top-10s wound up ninth in the championship standings. The following year, Bown won six races and four poles. He had a total of thirteen top-fives and won the Busch Series championship over Jimmy Hensley by 200 points. That same season, he returned to the Cup series, running three races in the No. 97 Pontiac for Tex Powell, his best finish 23rd at the Atlanta Journal 500. In 1991, Bown won three times and garnered four poles, but dropped 4th in the Busch Series points. He made one Winston Cup start driving Cale Yarborough's No. 66 Pontiac at North Wilkesboro Speedway where he finished 26th. The following season, Bown failed to win a race and had only five top-five finishes, and dropped to eleventh in the standings. In 1993, Bown won his final career pole at Richmond International Raceway and won his final race at Martinsville Speedway. He recorded 5 top-5s and 13 top-10s en route to a fourth-place points finish. He made one Winston Cup start driving the Roulo Brothers' No. 39 Chevrolet at Phoenix, finishing 24th.

what happened in 1986?

OUT: In 1986, Bown returned to NASCAR, running in the Busch Series.

input: World War II brought about a swift end to the big band era as musicians went off to serve in the military and travel restrictions made touring difficult. When the war ended, the focus of popular music shifted towards crooners such as Frank Sinatra and Jo Stafford, so Ellington's wordless vocal feature "Transblucency" (1946) with Kay Davis was not going to have a similar reach. With inflation setting in after 1945, the cost of hiring big bands went up and club owners preferred smaller jazz groups who played in new styles such as bebop. Dancing in clubs also subjected club owners to a new wartime tax which continued for many years after, which made small bands more cost-effective for club owners. Ellington continued on his own course through these tectonic shifts. While Count Basie was forced to disband his whole ensemble and work as an octet for a time, Ellington was able to tour most of Western Europe between April 6 and June 30, 1950, with the orchestra playing 74 dates over 77 days. During the tour, according to Sonny Greer, the newer works were not performed, though Ellington's extended composition, Harlem (1950) was in the process of being completed at this time. Ellington later presented its score to music-loving President Harry Truman. Also during his time in Europe, Ellington would compose the music for a stage production by Orson Welles. Titled Time Runs in Paris and An Evening With Orson Welles in Frankfurt, the variety show also featured a newly discovered Eartha Kitt, who performed Ellington's original song "Hungry Little Trouble" as Helen of Troy. In 1951, Ellington suffered a significant loss of personnel: Sonny Greer, Lawrence Brown, and most importantly Johnny Hodges left to pursue other ventures, although only Greer was a permanent departee. Drummer Louie Bellson replaced Greer, and his "Skin Deep" was a hit for Ellington. Tenor player Paul Gonsalves had joined in December 1950 after periods with Count Basie and Dizzy Gillespie and stayed for the rest of his life, while Clark Terry joined in November 1951. During the early 1950s, Ellington's career was at a low point with his style being generally seen as outmoded, but his reputation did not suffer as badly as some artists. Andre Previn said in 1952: "You know, Stan Kenton can stand in front of a thousand fiddles and a thousand brass and make a dramatic gesture and every studio arranger can nod his head and say, Oh, yes, that's done like this. But Duke merely lifts his finger, three horns make a sound, and I don't know what it is!" However, by 1955, after three years of recording for Capitol, Ellington lacked a regular recording affiliation.

Answer this question "why did his music appear to be outmoded?"
output:
When the war ended, the focus of popular music shifted towards crooners