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Mathis James Reed (September 6, 1925 – August 29, 1976) was an American blues musician and songwriter. His particular style of electric blues was popular with blues as well as non-blues audiences. Reed’s songs such as “Honest I Do” (1957), “Baby What You Want Me to Do” (1960), “Big Boss Man” (1961), and “Bright Lights, Big City” (1961) appeared on both Billboard magazine’s rhythm and blues and Hot 100singles charts.

Reed influenced other musicians, such as Elvis Presley, Hank Williams Jr., and the Rolling Stones, who recorded his songs. Music critic Cub Koda describes him as “perhaps the most influential bluesman of all,” due to his easily accessible style.

Reed was born in Dunleith, Mississippi, United States. He learned the harmonica and guitar from his friend Eddie Taylor. After several years of busking and performing there, he moved to Chicago, Illinois, in 1943.He was then drafted into the U.S. Navy and served in World War II. He was discharged in 1945 and returned briefly to Mississippi, marrying his girlfriend, Mary (henceforth known as Mama Reed). He then moved to Gary, Indiana, to work at an Armour meat-packing plant. Mama Reed was an uncredited background singer on many of his recordings, notably the hits “Baby What You Want Me to Do“, “Big Boss Man” and “Bright Lights, Big City“.

The graceful winding arms of the grand-design spiral galaxy M51 stretch across this image from the NASA/ESA/CSA James Webb Space Telescope. Unlike the menagerie of weird and wonderful spiral galaxies with ragged or disrupted spiral arms, grand-design spiral galaxies boast prominent, well-developed spiral arms like the ones showcased in this image. This galactic portrait was captured by Webb’s Mid-InfraRed Instrument (MIRI).

In this image the reprocessed stellar light by dust grains and molecules in the medium of the galaxy illuminate a dramatic filamentary medium. Empty cavities and bright filaments alternate and give the impression of ripples propagating from the spiral arms. The yellow compact regions indicate the newly formed star clusters in the galaxy.

M51 — also known as NGC 5194 — lies about 27 million light-years away from Earth in the constellation Canes Venatici, and is trapped in a tumultuous relationship with its near neighbour, the dwarf galaxy NGC 5195. The interaction between these two galaxies has made these galactic neighbours one of the better-studied galaxy pairs in the night sky. The gravitational influence of M51’s smaller companion is thought to be partially responsible for the stately nature of the galaxy’s prominent and distinct spiral arms. If you would like to learn more about this squabbling pair of galactic neighbours, you can explore earlier observations of M51 by the NASA/ESA Hubble Space Telescope here.

This Webb observation of M51 is one of a series of observations collectively titled Feedback in Emerging extrAgalactic Star clusTers, or FEAST. The FEAST observations were designed to shed light on the interplay between stellar feedback and star formation in environments outside of our own galaxy, the Milky Way. Stellar feedback is the term used to describe the outpouring of energy from stars into the environments which form them, and is a crucial process in determining the rates at which stars form. Understanding stellar feedback is vital to building accurate universal models of star formation.

John Milton Cage Jr. (September 5, 1912 – August 12, 1992 LA,CA) was an American composer and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage’s romantic partner for most of their lives.

Cage’s teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music, but Cage’s major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951. The I Ching, an ancient Chinese classic text and decision-making tool, became Cage’s standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music, he described music as “a purposeless play” which is “an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we’re living”.

Cage’s best known work is the 1952 composition 4′33″, a piece performed in the absence of deliberate sound; musicians who present the work do nothing but be present for the duration specified by the title. The content of the composition is intended to be the sounds of the environment heard by the audience during performance. The work’s challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. These include Sonatas and Interludes (1946–48).

Webb’s NIRCam (Near-Infrared Camera) captured this detailed image of SN 1987A (Supernova 1987A). At the center, material ejected from the supernova forms a keyhole shape. Just to its left and right are faint crescents newly discovered by Webb. Beyond them an equatorial ring, formed from material ejected tens of thousands of years before the supernova explosion, contains bright hot spots. Exterior to that is diffuse emission and two faint outer rings. In this image blue represents light at 1.5 microns (F150W), cyan 1.64 and 2.0 microns (F164N, F200W), yellow 3.23 microns (F323N), orange 4.05 microns (F405N), and red 4.44 microns (F444W). The supernova lies about 168,000 light-years away in the constellation Dorado. Webb peered across this great distance to spy the former star’s dusty remains, including a central structure dubbed the keyhole.

Granville William “Mickey” Roker (September 3, 1932 – May 22, 2017) was an American jazz drummer.

Roker was born into extreme poverty in Miami to Granville (Sr.) and Willie Mae Roker. After his mother died (his father never lived with them), when he was only ten, he was taken by his grandmother to live in Philadelphia with his uncle Walter, who gave him his first drum kit and communicated his love of jazz to his nephew. He also introduced the young Roker to the jazz scene in Philadelphia, where drummer Philly Joe Jones became Roker’s idol.

In the early 1950s, he began to gain recognition as a sensitive yet hard-driving big-band drummer. He was especially favored by Dizzy Gillespie, who remarked of him that “once he sets a groove, whatever it is, you can go to Paris and come back and it’s right there. You never have to worry about it.” Roker was soon in demand for his supportive skills in both big-band and small-group settings.

While in Philadelphia he played with Jimmy Oliver, Jimmy Heath, Jimmy Divine, King James and Sam Reedbefore moving to New York in 1959, where his first gigs were with Gigi Gryce, Ray Bryant, Joe Williams, Junior Mance, Nancy Wilson and the Duke Pearson big band.

In 1965 Mickey joined Art Farmer and Benny Golson’s revamped group, the “New York Jazz Sextet”.

In 1992, he replaced Connie Kay in the Modern Jazz Quartet.

He recorded with Dizzy Gillespie, Sonny Rollins, Duke Pearson, Tommy Flanagan, Ella Fitzgerald, Zoot Sims, Horace Silver, Junior Mance, Sarah Vaughan, Milt Jackson, Herbie Hancock, Phil Woods, Oscar Peterson, Ray Brown, Bucky Pizzarelli, Stanley Turrentine, Toshiko Akiyoshi, Hank Jones, Bobby Hutcherson, Joe Locke, and many other jazz musicians.

Roker was still active on the Philadelphia music scene during the 21st century. He died in Philadelphia, Pennsylvania, at the age of 84, of natural causes, though he had been suffering from diabetes, lung cancer, and other health issues.

Freddie King (September 3, 1934 – December 28, 1976) was an American blues guitarist, singer and songwriter. He is considered one of the “Three Kings of the Blues Guitar” (along with Albert King and B.B. King, none of whom were blood related). Mostly known for his soulful and powerful voice and distinctive guitar playing, King had a major influence on electric blues music and on many later blues guitarists.

Born in Gilmer, Texas, King became acquainted with the guitar at the age of six. He started learning the guitar from his mother and his uncle. King moved to Chicago when he was a teenager; there he formed his first band the Every Hour Blues Boys with guitarist Jimmie Lee Robinson and drummer Frank “Sonny” Scott. As he was repeatedly being rejected by Chess Records, he got signed to Federal Records, and got his break with single “Have You Ever Loved a Woman” and instrumental “Hide Away“, which reached number five on the Billboard magazine’s rhythm and blues chart in 1961. It later became a blues standard. King based his guitar style on Texas blues and Chicago blues influences. The album Freddy King Sings showcased his singing talents and included the record chart hits “You’ve Got to Love Her with a Feeling” and “I’m Tore Down”. He later became involved with producers who were more oriented to rhythm and blues and rockand was one of the first bluesmen to have a multiracial backing band at performances.

He was inducted into the Rock and Roll Hall of Fame by ZZ Top in 2012 and into the Blues Hall of Fame in 1982. His instrumental “Hide Away” was included in the Rock and Roll Hall of Fame’s list of “500 Songs that Shaped Rock“. He was ranked 25th in the Rolling Stone magazine’s 2003 edition of “100 Greatest Guitarists of All Time” and 15th in the 2011 edition.

Fred King was born in 1934 to Ella Mae King and J. T. Christian. When Freddie was 6 years old, his mother and his uncle taught him to play the guitar. In 1949, he and his family moved from Dallas to the South Side of Chicago.

Nearly constant touring took its toll on King—he was on the road almost 300 days out of the year. In 1976 he began suffering from stomach ulcers. His health quickly deteriorated, and he died on December 28 of complications from this illness and acute pancreatitis, at the age of 42.

According to those who knew him, King’s untimely death was due to stress, a legendary “hard-partying lifestyle”, and a poor diet of consuming Bloody Marys because as he told a journalist, “they’ve got food in them.”