mick laBriola

“After silence, that which comes nearest to expressing the inexpressible is music.” ~Aldous Huxley, Music at Night and Other Essays

Attended SAVOR Friday 12-6-24, a Sephardic Music & Food Experience at Mt Zion yesterday morning hosted by Chef Susan Barocas and Ladino Singer Sarah Aroeste. Wonderful!

Called the Cone Nebula (in NGC 2264) – so named because in ground-based images it has a conical shape – this monstrous pillar resides in a turbulent star-forming region. This picture, taken by the newly installed Advanced Camera for Surveys (ACS) aboard the NASA/ESA Hubble Space Telescope, shows the upper 2.5 light-years of the Cone, a height that equals 23 million roundtrips to the Moon. The entire pillar is seven light-years long.

Radiation from hot, young stars (located beyond the top of the image) has slowly eroded the nebula over millions of years. Ultraviolet light heats the edges of the dark cloud, releasing gas into the relatively empty region of surrounding space. There, additional ultraviolet radiation causes the hydrogen gas to glow, which produces the red halo of light seen around the pillar. A similar process occurs on a much smaller scale to gas surrounding a single star, forming the bow-shaped arc seen near the upper left side of the Cone. This arc, seen previously with the Hubble telescope, is 65 times larger than the diameter of our Solar System. The blue-white light from surrounding stars is reflected by dust. Background stars can be seen peeking through the evaporating tendrils of gas, while the turbulent base is pockmarked with stars reddened by dust.

Over time, only the densest regions of the Cone will be left. But inside these regions, stars and planets may form. The Cone Nebula resides 2500 light-years away in the constellation Monoceros.

The Cone is a cousin of the M16 pillars, which the Hubble telescope imaged in 1995. Consisting mainly of cold gas, the pillars in both regions resist being eroded away by the blistering ultraviolet radiation from young, massive stars. Pillars like the Cone and M16 are common in large regions of star birth. Astronomers believe that these pillars may be incubators for developing stars.

The ACS made this observation on 2 April 2002. The colour image is constructed from three separate images taken in blue, near-infrared, and hydrogen-alpha filters.

Thomas Alan Waits (born December 7, 1949) is an American musician, composer, songwriter, and actor. His lyrics often focus on society’s underworld and are delivered in his trademark deep, gravelly voice. He began in the folk scene during the 1970s, but his music since the 1980s has reflected the influence of such diverse genres as rock, Delta blues, opera, vaudeville, cabaret, funk, hip hop and experimental techniques verging on industrial music. Per The Wall Street Journal, Waits “has composed a body of work that’s at least comparable to any songwriter’s in pop today. A keen, sensitive and sympathetic chronicler of the adrift and downtrodden, Mr. Waits creates three-dimensional characters who, even in their confusion and despair, are capable of insight and startling points of view. Their stories are accompanied by music that’s unlike any other in pop history.”

Tom Waits was born and raised in a middle-class family in Pomona, California. Inspired by the work of Bob Dylan and the Beat Generation, he began singing on the San Diego folk circuit. He relocated to Los Angeles in 1972, where he worked as a songwriter before signing a recording contract with Asylum Records. His first albums were the jazzy Closing Time (1973), The Heart of Saturday Night (1974) and Nighthawks at the Diner (1975), which reflected his lyrical interest in poverty, criminality and nightlife. He repeatedly toured the United States, Europe and Japan, and found greater critical and commercial success with Small Change (1976), Blue Valentine (1978) and Heartattack and Vine (1980). During this period, Waits entered the world of film, acting in Paradise Alley (1978), where he met a young story editor named Kathleen Brennan. He composed the soundtrack for Francis Ford Coppola‘s One from the Heart (1982) and made cameos in several subsequent Coppola films.

In 1980, Waits married Brennan, split from his manager and record label, and moved to New York City. With Brennan’s encouragement and frequent collaboration, he pursued a more eclectic and experimental sound influenced by Harry Partch and Captain Beefheart, as heard on the loose trilogy Swordfishtrombones (1983), Rain Dogs (1985) and Franks Wild Years (1987). Waits starred in Jim Jarmusch‘s Down by Law (1986), lent his voice to his Mystery Train (1989), composed the soundtrack for his Night on Earth (1991) and appeared in his Coffee and Cigarettes (2003). He collaborated with Robert Wilson and William S. Burroughs on the “cowboy opera” The Black Rider (1990), the songs for which were released on the album The Black Rider. Waits and Wilson collaborated again on Alice (2002) and Woyzeck(2000). Bone Machine (1992) and Mule Variations (1999) won Grammys for Best Alternative Music Albumand Best Contemporary Folk Album, respectively. In 2002, the songs from Alice and Wozzeck were recorded and released on the albums Alice and Blood Money. Waits went on to release Real Gone (2004), the compilation Orphans: Brawlers, Bawlers & Bastards (2006), the live album Glitter and Doom Live (2009) and Bad as Me (2011).

Waits has influenced many artists and gained an international cult following. His songs have been covered by Bruce Springsteen, Tori Amos, Rod Stewart and the Ramones and he has written songs for Johnny Cash and Norah Jones, among others. In 2011, he was inducted into the Rock and Roll Hall of Fame. Introducing him, Neil Young said: “This next man is indescribable, and I’m here to describe him. He’s sort of a performer, singer, actor, magician, spirit guide, changeling… I think it’s great that the Rock and Roll Hall of Fame has recognized this immense talent. Could have been the Motion Picture Hall of Fame, could have been the Blues Hall of Fame, could have been the Performance Artist Hall of Fame, but it was the Rock and Roll Hall of Fame that recognized the great Tom Waits.” In accepting the award, Waits mused, “They say that I have no hits and that I’m difficult to work with. And they say that like it’s a bad thing!”

NGC 300 (also known as Caldwell 70 or the Sculptor Pinwheel Galaxy) is a spiral galaxy in the constellation Sculptor. It was discovered on 5 August 1826 by Scottish astronomer James Dunlop.It is one of the closest galaxies to the Local Group, and it most likely lies between the latter and the Sculptor Group. It is the brightest of the five main spirals in the direction of the Sculptor Group. It is inclined at an angle of 42° when viewed from Earth and shares many characteristics of the Triangulum Galaxy. It is 94,000 light-years in diameter, somewhat smaller than the Milky Way, and has an estimated mass of (2.9 ± 0.2) × 10¹⁰ M_☉.

David Warren Brubeck (December 6, 1920 – December 5, 2012) was an American jazz pianist and composer. Often regarded as a foremost exponent of cool jazz, Brubeck’s work is characterized by unusual time signatures and superimposing contrasting rhythms, meters, tonalities, and combining different styles and genres, like classic, jazz, and blues.

Born in Concord, California, Brubeck was drafted into the US Army, but was spared from combat service when a Red Cross show he had played at became a hit. Within the US Army, Brubeck formed one of the first racially diverse bands. In 1951, he formed the Dave Brubeck Quartet, which kept its name despite shifting personnel. The most successful—and prolific—lineup of the quartet was the one between 1958 and 1968. This lineup, in addition to Brubeck, featured saxophonist Paul Desmond, bassist Eugene Wright and drummer Joe Morello. A U.S. Department of State-sponsored tour in 1958 featuring the band inspired several of Brubeck’s subsequent albums, most notably the 1959 album Time Out. Despite its esoteric theme and contrarian time signatures, Time Out became Brubeck’s highest-selling album, and the first jazz album to sell over one million copies. The lead single from the album, “Take Five“, a tune written by Desmond in ⁵₄ time, similarly became the highest-selling jazz single of all time. The quartet followed up Time Out with four other albums in non-standard time signatures, and some of the other songs from this series became hits as well, including “Blue Rondo à la Turk” (in ⁹₈) and “Unsquare Dance” (in ⁷₄). Brubeck continued releasing music until his death in 2012.

Brubeck’s style ranged from refined to bombastic, reflecting both his mother’s classical training and his own improvisational skills. He expressed elements of atonality and fugue. Brubeck, with Desmond, used elements of West Coast jazz near the height of its popularity, combining them with the unorthodox time signatures seen in Time Out. Like many of his contemporaries, Brubeck played into the style of the French composer Darius Milhaud, especially his earlier works, including “Serenade Suite” and “Playland-At-The-Beach”. Brubeck’s fusion of classical music and jazz would come to be known as “third stream“, although Brubeck’s use of third stream would predate the coining of the term. John Fordham of The Guardiancommented: “Brubeck’s real achievement was to blend European compositional ideas, very demanding rhythmic structures, jazz song-forms and improvisation in expressive and accessible ways.”

Brubeck was the recipient of several music awards and honors throughout his lifetime. In 1996, Brubeck received a Grammy Lifetime Achievement Award. In 2008, Brubeck was inducted into the California Hall of Fame, and a year later, he was given an honorary Doctor of Music degree from Berklee College of Music. Brubeck’s 1959 album Time Out was added to the Library of Congress‘ National Recording Registry in 2005. Noted as “one of Jazz’s first pop stars” by the Los Angeles Times, Brubeck rejected his fame, and felt uncomfortable with Time magazine featuring him on the cover before Duke Ellington.