mick laBriola

Even though this theory is in dispute, the story is intriguing.

One of the most popular theories, however, links Friday the 13th with the fall of a fearsome group of legendary warriors—the Knights Templar. Founded around 1118 as a monastic military order devoted to the protection of pilgrims traveling to the Holy Land following the Christian capture of Jerusalem during the First Crusade, the Knights Templar quickly became one of the richest and most influential groups of the Middle Ages, thanks to lavish donations from the crowned heads of Europe, eager to curry favor with the fierce Knights. By the turn of the 14th century, the Templars had established a system of castles, churches and banks throughout Western Europe. And it was this astonishing wealth that would lead to their downfall. For the Templars, that end began in the early morning hours of Friday, October 13, 1307.

Project 49’ was the name code for our second project with the ‘Altaïr of Atlas Astrophotographers’ team, an idea that looked a bit crazy on paper, but that we knew could only be achieved under optimum conditions… The idea was to produce an ultra-detailed image of the Rho Ophiuchi complex, as well as some of its neighbours in the Scorpius constellation, using remotely our setup in Morocco. As this region is about 15° higher in the sky than our home in France, this dream became a reality ! With our instrument in place in the Atlas Mountains, we had to make a 7*7 mosaic (49 tiles), to achieve our goal. A project of this kind already takes up a huge amount of time and material resources (post-processing), so we set ourselves the challenge of producing all our tiles in a single exposure for each filter, without any stacking, and all in LHaRGB using a monochrome camera. 358ly distant.

Arnold Schoenberg or Schönberg (13 September 1874 – 13 July 1951) was an Austrian and American composer, music theorist, teacher and writer. He was among the first modernists who transformed the practice of harmony in 20th-century classical music, and a central element of his music was its use of motives as a means of coherence. He propounded concepts like developing variation, the emancipation of the dissonance, and the “unity of musical space“.

Schoenberg’s early works, like Verklärte Nacht (1899), represented a Brahmsian–Wagnerian synthesis on which he built. Mentoring Anton Webern and Alban Berg, he became the central figure of the Second Viennese School. They consorted with visual artists, published in Der Blaue Reiter, and wrote atonal, expressionist music, attracting fame and stirring debate. In his String Quartet No. 2 (1907–1908), Erwartung (1909), and Pierrot lunaire (1912), Schoenberg visited extremes of emotion; in self-portraits he emphasized his intense gaze. While working on Die Jakobsleiter (from 1914) and Moses und Aron (from 1923), Schoenberg confronted popular antisemitism by returning to Judaism and substantially developed his twelve-tone technique. He systematically interrelated all notes of the chromatic scale in his twelve-tone music, often exploiting combinatorial hexachords and sometimes admitting tonal elements.

Schoenberg resigned from the Prussian Academy of Arts (1926–1933), emigrating as the Nazis took power; they banned his (and his students’) music, labeling it “degenerate“. He taught in the US, including at the University of California, Los Angeles (1936–1944), where facilities are named in his honor. He explored writing film music (as he had done idiosyncratically in Begleitungsmusik zu einer Lichtspielscene, 1929–1930) and wrote more tonal music, completing his Chamber Symphony No. 2 in 1939. With citizenship (1941) and US entry into World War II, he satirized fascist tyrants in Ode to Napoleon (1942, after Byron), deploying Beethoven’s fate motif and the Marseillaise. Post-war Vienna beckoned with honorary citizenship, but Schoenberg was ill as depicted in his String Trio (1946). As the world learned of the Holocaust, he memorialized its victims in A Survivor from Warsaw (1947). The Israel Conservatory and Academy of Music elected him honorary president (1951).

His innovative music was among the most influential and polemicized of 20th-century classical music. At least three generations of composers extended its somewhat formal principles. His aesthetic and music-historical views influenced musicologists Theodor W. Adorno and Carl Dahlhaus. The Arnold Schönberg Center collects his archival legacy.

This spectacular mosaic of images from the James Webb Space Telescope peers into the heart of young star cluster NGC 1333. A mere 1,000 light-years distant toward the heroic constellation Perseus, the nearby star cluster lies at the edge of the large Perseus molecular cloud. Part of Webb’s deep exploration of the region to identify low mass brown dwarf stars and free floating planets, the space telescope’s combined field of view spans nearly 2 light-yearsacross the dusty cluster’s turbulent stellar nursery. In fact, NGC 1333 is known to harbor stars less than a million years old, though most are hidden from optical telescopes by the pervasive stardust. The chaotic environment may be similar to one in which our own Sun formed over 4.5 billion years ago.

Neil Ellwood Peart OC (September 12, 1952 – January 7, 2020) was a Canadian and American musician, known as the drummer and primary lyricist of the rock band Rush. He was known to fans by the nickname ‘The Professor’, derived from the Gilligan’s Island character of the same name. His drumming was renowned for its technical proficiency and his live performances for their exacting nature and stamina. Peart earned numerous awards for his musical performances, including an induction into the Modern Drummer Readers Poll Hall of Fame in 1983 at the age of thirty, making him the youngest person ever so honoured.

Peart was born in Hamilton, Ontario, and grew up in Port Dalhousie (now part of St. Catharines). During adolescence, he floated between regional bands in pursuit of a career as a full-time drummer. After a discouraging stint in England, Peart returned home to concentrate on music where he joined Rush, a Toronto band, in mid-1974, six years after its formation. Together they released nineteen studio albums, with ten exceeding a million copies sold in the United States. Billboard lists the band third in “most consecutive gold or platinum albums by a rock band”.

Early in his career, Peart’s performance style was deeply rooted in hard rock. He drew most of his inspiration from drummers such as Keith Moon, Ginger Baker, and John Bonham, players who at the time were at the forefront of the British hard rock scene. As time passed, he began to emulate jazz and big band musicians Gene Krupa and Buddy Rich. In 1994, Peart became a friend and pupil of jazz instructor Freddie Gruber. It was during this time that Peart revamped his playing style by incorporating jazz and swing components.

In addition to serving as Rush’s primary lyricist, Peart published several memoirs about his travels. His lyrics for Rush addressed universal themes and diverse subjects including science fiction, fantasy, and philosophy, as well as secular, humanitarian, and libertarian themes. Peart wrote a total of seven nonfiction books focused on his travels and personal stories. He also coauthored with Kevin J. Anderson three steampunkfantasy novels based on Rush’s final album, Clockwork Angels. The two also wrote a dark fantasy novella, Drumbeats, inspired by Peart’s travels in Africa.

Peart announced his retirement from touring in an interview with Drumhead Magazine in December 2015. In January 2018, bandmate Alex Lifeson confirmed that Rush had disbanded also due to Peart’s health issues. During his last years Peart lived in Santa Monica, California, with his wife, Carrie Nuttall, and daughter. After a three-and-a-half-year illness, Peart died of glioblastoma on January 7, 2020, at age 67.