mick laBriola

Trumpler 16 is an open star cluster within the Carina Nebula (NGC 3372 or the Eta Carinae Nebula), located about 7,500 light-years away from Earth in the southern constellation of Carina (the Keel). It is slowly moving toward us at roughly 25 kilometers per hour.

This young cluster contains over 560 stars, including a significant population of very young stars, and three of the biggest and most impressive stars from our galaxy: Eta Carinae (not visible in this image), WR 25 and Tr16-244. Although intermediate-mass stars have been forming continuously over the last 10 million years, the high-mass stars formed within the last 3 million years.

What seems to be a single bright star might actually turn out to be several stars close together. Eta Carinae, with a mass of 100 to 150 times the mass of our Sun, probably coexists in a binary state with another massive supergiant; WR 25, the brightest object in the above image, consists of at least two separate stars of which the brightest star appears to be about 50 times the mass of our Sun. Additionally, Tr16 -244 (the third brightest, just to the upper left of WR 25) consists of at least three individual stars. The second brightest in this image, to the left of WR 25, is a low-mass star located much closer to Earth than the Carina Nebula.

Mary Lou Williams (born Mary Elfrieda Scruggs; May 8, 1910 – May 28, 1981) was an American jazzpianist, arranger, and composer. She wrote hundreds of compositions and arrangements and recorded more than one hundred records (in 78, 45, and LP versions). Williams wrote and arranged for Duke Ellington and Benny Goodman, and she was friend, mentor, and teacher to Thelonious Monk, Charlie Parker, Miles Davis, Tadd Dameron, Bud Powell, and Dizzy Gillespie.

She has been noted for her 1954 conversion to Catholicism, which led to a musical hiatus and a later transformation in the nature of her music. She continued to perform and work as a philanthropist, educator, and youth mentor until her death from bladder cancer in 1981.

In 1927, Williams married saxophonist John Overton Williams. She met him at a performance in Cleveland where he was leading his group, the Syncopators, and moved with him to Memphis, Tennessee. He assembled a band in Memphis, which included Williams on piano. In 1929, 19-year-old Williams assumed leadership of the Memphis band when her husband accepted an invitation to join Andy Kirk‘s band in Oklahoma City. Williams joined her husband in Oklahoma City but did not play with the band. The group, Andy Kirk’s Twelve Clouds of Joy, moved to Tulsa, Oklahoma, where Williams, when she wasn’t working as a musician, was employed transporting bodies for an undertaker. When the Clouds of Joy accepted a longstanding engagement in Kansas City, Missouri, Williams joined her husband and began sitting in with the band, as well as serving as its arranger and composer. She provided Kirk with such songs as “Froggy Bottom”, “Walkin’ and Swingin'”, “Little Joe from Chicago”, “Roll ‘Em”, and “Mary’s Idea”.

Williams was the arranger and pianist for recordings in Kansas City (1929) Chicago (1930), and New York City (1930). During a trip to Chicago, she recorded “Drag ‘Em” and “Night Life” as piano solos. She used the name “Mary Lou” at the suggestion of Jack Kapp at Brunswick Records. The records sold quickly, raising Williams to national prominence. Soon after the recording session she became Kirk’s permanent second pianist, playing solo gigs and working as a freelance arranger for Earl Hines, Benny Goodman, and Tommy Dorsey. In 1937, she produced In the Groove (Brunswick), a collaboration with Dick Wilson, and Benny Goodman asked her to write a blues song for his band. The result was “Roll ‘Em”, a boogie-woogie piece based on the blues, which followed her successful “Camel Hop”, named for Goodman’s radio show sponsor, Camel cigarettes. Goodman tried to put Williams under contract to write for him exclusively, but she refused, preferring to freelance instead.

Robert Leroy Johnson (May 8, 1911 – August 16, 1938) 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 recognized as a master of the blues, particularly the Delta blues style, and as one of the most influential musicians of the 20th century. The Rock and Roll Hall of Fame describes him as perhaps “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 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 his life outside of the small musical circuit in the Mississippi Delta where he spent most of his time. Much of his story has been reconstructed by researchers. Johnson’s poorly documented life and death have given rise to legends. The one most often associated with him is that he sold his soul to the devil at a local crossroads in return for 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 credited with finally bringing Johnson’s work to a wider audience. The album would become influential, especially in 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 by the National Recording Preservation Board. Johnson died on August 16, 1938, at the age of 27, near Greenwood, Mississippi, of unknown causes. Johnson’s death was not reported publicly. Almost 30 years later, Gayle Dean Wardlow, a Mississippi-based musicologist researching Johnson’s life, found Johnson’s death certificate, which listed only the date and location, with no official cause of death. No formal autopsy had been done. Instead, a pro forma examination was done to file the death certificate, and no immediate cause of death was determined. It is likely he had congenital syphilis and it was suspected later by medical professionals that this may have been a contributing factor in his death. However, 30 years of local oral tradition had, like the rest of his life story, built a legend which has filled in gaps in the scant historical record.

The Sculptor Galaxy (also known as the Silver Coin Galaxy, Silver Dollar Galaxy, NGC 253, or Caldwell 65) is an intermediate spiral galaxy in the constellation Sculptor. The Sculptor Galaxy is a starburst galaxy, which means that it is currently undergoing a period of intense star formation.

The galaxy was discovered by Caroline Herschel in 1783 during one of her systematic cometsearches. About half a century later, John Herschel observed it using his 18-inch metallic mirror reflector at the Cape of Good Hope. He wrote: “very bright and large (24′ in length); a superb object…. Its light is somewhat streaky, but I see no stars in it except 4 large and one very small one, and these seem not to belong to it, there being many near..

Pyotr Ilyich Tchaikovsky (/tʃaɪˈkɒfski/ chy-KOF-skee; 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 Five with 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 diverged from 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 exoticism, and said he transcended the stereotypes of Russian classical music. Others dismissed Tchaikovsky’s music as deficient because it did not stringently follow Western principles.