The Vela supernova remnant is a supernova remnant in the southern constellation Vela. Its source Type II supernova exploded approximately 11,000–12,300 years ago (and was about 800 light-years away). The association of the Vela supernova remnant with the Vela pulsar, made by astronomers at the University of Sydney in 1968, was direct observational evidence that supernovae form neutron stars.

The Vela supernova remnant includes NGC 2736. The Vela supernova remnant overlaps the Puppis A supernova remnant, which is four times more distant. Both the Puppis and Vela remnants are among the largest and brightest features in the X-ray sky.

Manfred Mann were an English rock band, formed in London and active between 1962 and 1969. The group were named after their keyboardist Manfred Mann, who later led the successful 1970s group Manfred Mann’s Earth Band. The band had two different lead vocalists, Paul Jones from 1962 to 1966 and Mike d’Abo from 1966 to 1969.

Prominent in the Swinging London scene of the 1960s, the group regularly appeared in the UK Singles Chart. Three of their most successful singles, “Do Wah Diddy Diddy“, “Pretty Flamingo“, and “Mighty Quinn“, topped the UK charts. The band’s 1964 hit “5-4-3-2-1” was the theme tune for the ITV pop music show Ready Steady Go!. They were also the first southern-England-based group to top the US Billboard Hot 100 during the British Invasion.

The Mann–Hugg Blues Brothers were formed in London by keyboard player Manfred Mann and drummer/vibes/piano player Mike Hugg, who formed a house band in Clacton-on-Sea that also featured Graham Bond. Bringing a shared love of jazz to the British blues boom then sweeping London’s clubs, the band was completed by Mike Vickers on guitar, alto saxophone and flute, bassist Dave Richmond and Paul Jones as lead vocalist and harmonicist. By this time they had changed their name to Manfred Mann & the Manfreds. Gigging throughout late 1962 and early 1963, they soon attracted attention for their distinctive sound.

John Birks “Dizzy” Gillespie (October 21, 1917 – January 6, 1993) was an American jazz trumpeter, bandleader, composer, educator and singer. He was a trumpet virtuoso and improviser, building on the virtuosic style of Roy Eldridge but adding layers of harmonic and rhythmic complexity previously unheard in jazz. His combination of musicianship, showmanship, and wit made him a leading popularizer of the new music called bebop. His beret and horn-rimmed spectacles, scat singing, bent horn, pouched cheeks, and light-hearted personality provided one of bebop’s most prominent symbols.

In the 1940s, Gillespie, with Charlie Parker, became a major figure in the development of bebop and modern jazz.He taught and influenced many other musicians, including trumpeters Miles Davis, Jon Faddis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan, and Chuck Mangione, and balladeer Johnny Hartman.

He pioneered Afro-Cuban jazz and won several Grammy Awards. Scott Yanow wrote, “Dizzy Gillespie’s contributions to jazz were huge. One of the greatest jazz trumpeters of all time, Gillespie was such a complex player that his contemporaries ended up being similar to those of Miles Davis and Fats Navarro instead, and it was not until Jon Faddis’s emergence in the 1970s that Dizzy’s style was successfully recreated [….] Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all time”.

The youngest of nine children of Lottie and James Gillespie, Dizzy Gillespie was born in Cheraw, South Carolina. His father was a local bandleader, so instruments were made available to the children. Gillespie started to play the piano at the age of four. Gillespie’s father died when he was only ten years old. He taught himself how to play the trombone as well as the trumpet by the age of twelve. From the night he heard his idol, Roy Eldridge, on the radio, he dreamed of becoming a jazz musician.

Performing today with Zamya Theater at the Ordway Theater in St Paul (https://zamyatheater.org/events). The performance consists of two segments 1) Zamya Zone with Carlisle Evans Peck (keys) and 2) Challenge to Change with mick laBriola (conga, cajon, steel pan and guitar). Plus an audience interaction segment.

A Challenge to Change

• Thursday, October 20, 2022
• 6:00 PM 8:00 PM

A now famous picture from the Hubble Space Telescope featured these star forming columns of cold gas and dust light-years long inside M16, the Eagle Nebula, dubbed the Pillars of Creation. This James Webb Space Telescope NIRCam image expands Hubble’s exploration of that region in greater detail and depth inside the iconic stellar nursery. Particularly stunning in Webb’s near infrared view is the telltale reddish emission from knots of material undergoing gravitational collapse to form stars within the natal clouds. The Eagle Nebula is some 6,500 light-years distant. The larger bright emission nebula is itself an easy target for binoculars or small telescopes. M16 lies along the plane of our Milky Way galaxy in a nebula rich part of the sky, toward the split constellation Serpens Cauda (the tail of the snake).

Ferdinand Joseph LaMothe (later Morton; c. September 20, 1890 – July 10, 1941), known professionally as Jelly Roll Morton, was an American ragtime and jazzpianist, bandleader, and composer. Morton was jazz’s first arranger, proving that a genre rooted in improvisation could retain its essential characteristics when notated. His composition “Jelly Roll Blues“, published in 1915, was one of the first published jazz compositions. He also claimed to have invented the genre.

Morton also wrote “King Porter Stomp“, “Wolverine Blues“, “Black Bottom Stomp“, and “I Thought I Heard Buddy Bolden Say”, the last being a tribute to New Orleans musicians from the turn of the 20th century.

Morton’s claim to have invented jazz in 1902 was criticized. Music critic Scott Yanow wrote, “Jelly Roll Morton did himself a lot of harm posthumously by exaggerating his worth…Morton’s accomplishments as an early innovator are so vast that he did not really need to stretch the truth.” Gunther Schuller says of Morton’s “hyperbolic assertions” that there is “no proof to the contrary” and that Morton’s “considerable accomplishments in themselves provide reasonable substantiation”.

Morton was born Ferdinand Joseph LaMothe into the Creole community in the Faubourg Marigny neighborhood of New Orleans around 1890; he claimed to have been born in 1885. Both parents traced their Creole ancestry four generations to the 18th century. Morton’s birth date and year of birth are uncertain, given that no birth certificate was ever issued for him. The law requiring birth certificates for citizens was not enforced until 1914. His parents were Edward Joseph (Martin) Lamothe, a bricklayer and occasional trombonist, and Louise Hermance Monette, a domestic worker. His father left his mother when Morton was three (they were never married). When his mother married William Mouton in 1894, Ferdinand adopted his stepfather’s surname, anglicizing it to Morton. n 1938, Morton was stabbed by a friend of the Music Box’s owner and suffered wounds to the head and chest. A nearby whites-only hospital refused to treat him, as the city had racially segregated facilities. He was transported to a black hospital farther away. When he was in the hospital, doctors left ice on his wounds for several hours before attending to the injury. His recovery from his wounds was incomplete, and thereafter he was often ill and became short of breath easily. After this incident, his wife Mabel demanded they leave Washington. Worsening asthma sent him to a hospital in New York for three months. He continued to suffer from respiratory problems when he travelled to Los Angeles with the intent to restart his career. He died on July 10, 1941, after an eleven-day stay in Los Angeles County General Hospital.