mick laBriola

The jellyfish galaxy JO175 appears to hang suspended in this image from the NASA/ESA Hubble Space Telescope. This galaxy lies over 650 million light-years from Earth in the appropriately-named constellation Telescopium, and was captured in crystal-clear detail by Hubble’s Wide Field Camera 3. A handful of more distant galaxies are lurking throughout the scene, and a bright four-pointed star lies to the lower right side. Jellyfish galaxies get their unusual name from the tendrils of star-forming gas and dust that trail behind them, just like the tentacles of a jellyfish. These bright tendrils contain clumps of star formation and give jellyfish galaxies a particularly striking appearance. Unlike their ocean-dwelling namesakes, jellyfish galaxies make their homes in galaxy clusters, and the pressure of the tenuous superheated plasma that permeates these galaxy clusters is what draws out the jellyfish galaxies’ distinctive tendrils. Hubble recently completed a deep dive into jellyfish clusters, specifically the star-forming clumps of gas and dust that stud their tendrils. By studying the origins and fate of the stars in these clumps, astronomers hoped to better understand the processes underpinning star formation elsewhere in the Universe. Interestingly, their research suggests that star formation in the discs of galaxies is similar to star formation in the extreme conditions found in the tendrils of jellyfish galaxies. [Image Description: A spiral galaxy. Its spiral arms are studded with many pink spots, especially around the top of the galaxy. One arm is sticking out below the galaxy. From it and around the bottom of the galaxy, faint gas streams away, while little gas is visible above the galaxy. The galaxy is quite small in the centre of a dark background, where a few smaller galaxies of various shapes and sizes hang.]

Robert Leroy Johnson (May 8, 1911 – August 16, 1938 Hazlehurst, Mississippi) was an American blues musician and songwriter. His landmark recordings in 1936 and 1937 display a combination of singing, guitar skills, and songwriting talent that has influenced later generations of musicians. Although his recording career spanned only seven months, he is now recognized as a master of the blues, particularly the Delta blues style, and one of the most influential musicians of the 20th century. The Rock and Roll Hall of Fame describes him as being “the first ever rock star”.

As a traveling performer who played mostly on street corners, in juke joints, and at Saturday night dances, Johnson had little commercial success or public recognition in his lifetime. He participated in only two recording sessions, one in San Antonio in 1936, and one in Dallas in 1937, that produced 29 distinct songs (with 13 surviving alternate takes) recorded by famed Country Music Hall of Fame producer Don Law. These songs, recorded solo in improvised studios, were the totality of his recorded output. Most were released as 10-inch, 78 rpm singles from 1937–1938, with a few released after his death. Other than these recordings, very little was known of him during his life outside of the small musical circuit in the Mississippi Delta where he spent most of his life; much of his story has been reconstructed after his death by researchers. Johnson’s poorly documented life and death have given rise to much legend. The one most closely associated with his life is that he sold his soul to the devil at a local crossroads to achieve musical success.

His music had a small, but influential, following during his life and in the two decades after his death. In late 1938 John Hammond sought him out for a concert at Carnegie Hall, From Spirituals to Swing, only to discover that Johnson had died. Brunswick Records, which owned the original recordings, was bought by Columbia Records, where Hammond was employed. Musicologist Alan Lomax went to Mississippi in 1941 to record Johnson, also not knowing of his death. Law, who by then worked for Columbia Records, assembled a collection of Johnson’s recordings titled King of the Delta Blues Singers that was released by Columbia in 1961. It is widely credited with finally bringing Johnson’s work to a wider audience. The album would become influential, especially on the nascent British blues movement; Eric Clapton has called Johnson “the most important blues singer that ever lived.” Bob Dylan, Keith Richards, and Robert Plant have cited both Johnson’s lyrics and musicianship as key influences on their own work. Many of Johnson’s songs have been covered over the years, becoming hits for other artists, and his guitar licks and lyrics have been borrowed by many later musicians. Renewed interest in Johnson’s work and life led to a burst of scholarship starting in the 1960s. Much of what is known about him was reconstructed by researchers such as Gayle Dean Wardlow and Bruce Conforth, especially in their 2019 award-winning biography of Johnson: Up Jumped the Devil: The Real Life of Robert Johnson (Chicago Review Press). Two films, the 1991 documentary The Search for Robert Johnson by John Hammond Jr., and a 1997 documentary, Can’t You Hear the Wind Howl?: The Life & Music of Robert Johnson, which included reconstructed scenes with Keb’ Mo’ as Johnson, were attempts to document his life, and demonstrated the difficulties arising from the scant historical record and conflicting oral accounts. Over the years, the significance of Johnson and his music has been recognized by the Rock and Roll, Grammy, and Blues Halls of Fame; and the National Recording Preservation Board.

I had performed at Mayday for over four decades. Working as the Ceremony Cue Guy, marching in the parade with the Community Band and presenting bands in the park like the Maroons, Positive Vibrations, Beau Koo Jacks and many more. Those days are gone and a new era of Mayday has been created. So Blessings and may this continue to enlighten and brighten our community and our world!

The Defeat of Jesse James second week today Sunday May 7th 2023 2pm matinee show at the History Theater in St Paul. Music with Raymond Berg, Kam Markworth, Christian Wheeler and mick laBriola.

Pyotr Ilyich Tchaikovsky 7 May 1840 – 6 November 1893) was a Russian composer of the Romantic period. He was the first Russian composer whose music would make a lasting impression internationally. Tchaikovsky wrote some of the most popular concert and theatrical music in the current classical repertoire, including the ballets Swan Lake and The Nutcracker, the 1812 Overture, his First Piano Concerto, Violin Concerto, the Romeo and Juliet Overture-Fantasy, several symphonies, and the opera Eugene Onegin.

Although musically precocious, Tchaikovsky was educated for a career as a civil servant as there was little opportunity for a musical career in Russia at the time and no system of public music education. When an opportunity for such an education arose, he entered the nascent Saint Petersburg Conservatory, from which he graduated in 1865. The formal Western-oriented teaching that Tchaikovsky received there set him apart from composers of the contemporary nationalist movement embodied by the Russian composers of The Fivewith whom his professional relationship was mixed.

Tchaikovsky’s training set him on a path to reconcile what he had learned with the native musical practices to which he had been exposed from childhood. From that reconciliation, he forged a personal but unmistakably Russian style. The principles that governed melody, harmony, and other fundamentals of Russian music ran completely counter to those that governed Western European music, which seemed to defeat the potential for using Russian music in large-scale Western composition or for forming a composite style, and it caused personal antipathies that dented Tchaikovsky’s self-confidence. Russian culture exhibited a split personality, with its native and adopted elements having drifted apart increasingly since the time of Peter the Great. That resulted in uncertainty among the intelligentsia about the country’s national identity, an ambiguity mirrored in Tchaikovsky’s career.

Despite his many popular successes, Tchaikovsky’s life was punctuated by personal crises and depression. Contributory factors included his early separation from his mother for boarding school followed by his mother’s early death, the death of his close friend and colleague Nikolai Rubinstein, his failed marriage with Antonina Miliukova, and the collapse of his 13-year association with the wealthy patroness Nadezhda von Meck. Tchaikovsky’s homosexuality, which he kept private, has traditionally also been considered a major factor though some scholars have played down its importance. His dedication of his Sixth symphony to his nephew Vladimir “Bob” Davydov and his feelings expressed about Davydov in letters to others, especially following Davydov’s suicide, have been cited as evidence for a romantic love between the two. Tchaikovsky’s sudden death at the age of 53 is generally ascribed to cholera, but there is an ongoing debate as to whether cholera was indeed the cause and whether the death was accidental or intentional.

While his music has remained popular among audiences, critical opinions were initially mixed. Some Russians did not feel it was sufficiently representative of native musical values and expressed suspicion that Europeans accepted the music for its Western elements. In an apparent reinforcement of the latter claim, some Europeans lauded Tchaikovsky for offering music more substantive than base exoticism, and said he transcended stereotypes of Russian classical music. Others dismissed Tchaikovsky’s music as deficient because they did not stringently follow Western principles.