Úrsula Hilaria Celia de la Caridad Cruz Alfonso (October 21, 1925 – July 16, 2003), known as Celia Cruz, was a Cuban singer and one of the most popular Latin artists of the 20th century. Cruz rose to fame in Cuba during the 1950s as a singer of guarachas, earning the nickname “La Guarachera de Cuba”. In the following decades, she became known internationally as the “Queen of Salsa” or “The Queen of Latin Music” due to her contributions to Latin music in the United States.

She began her career in her native Cuba, earning recognition as a vocalist of the popular musical group Sonora Matancera, a musical association that lasted fifteen years (1950-1965). Cruz mastered a wide variety of Afro-Cuban music styles including guaracha, rumba, afro, son and bolero, recording numerous singles in these styles for Seeco Records. In the early 1960s, after the Cuban Revolution caused the nationalization of the music industry, Cruz left her native country, becoming one of the symbols and spokespersons of the Cuban community in exile. Cruz continued her career, first in Mexico, and then in the United States, the country that she took as her definitive residence. In the 1960s, she collaborated with Tito Puente, recording her signature tune “Bemba colorá”. In the 1970s, she signed for Fania Records and became strongly associated with the salsa genre, releasing hits such as “Quimbara”. She often appeared live with Fania All-Stars and collaborated with Johnny Pacheco and Willie Colón. During the last years of her career, Cruz continued to release successful songs such as “La vida es un carnaval” and “La negra tiene tumbao“.

Her musical legacy is made up of a total of 37 studio albums, as well as numerous live albums and collaborations. Throughout her career, she was awarded numerous prizes and distinctions, including two Grammy Awards and three Latin Grammy Awards. In addition to her prolific career in music, Cruz also made several appearances as an actress in movies and telenovelas. Her catchphrase “¡Azúcar!” (“Sugar!”) has become one of the most recognizable symbols of salsa music.

John Birks “Dizzy” Gillespie (/ɡɪˈlɛspi/; October 21, 1917 – January 6, 1993 Cheraw, SC) was an American jazz trumpeter, bandleader, composer, educator and singer. He was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge^[3] 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, his scat singing, his bent horn, pouched cheeks, and his light-hearted personality provided some 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, Chuck Mangione, and balladeer Johnny Hartman.

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”.

Carlos Wesley “Don” Byas (October 21, 1912 – August 24, 1972) was an American jazz tenor saxophonist, most associated with bebop. He played with Count Basie, Duke Ellington, Art Blakey, and Dizzy Gillespie, among others, and also led his own band. He lived in Europe for the last 26 years of his life.

Byas was born in Muskogee, Oklahoma. Both of Byas’ parents were musicians. His mother played the piano, and his father, the clarinet. Byas started his training in classical music, learning to play violin, clarinet and alto saxophone, which he played until the end of the 1920s.

NGC 2936 is an interacting spiral galaxy located at a distance of 326 million light years, in the constellation Hydra. NGC 2936 is interacting with elliptical galaxy NGC 2937, located just beneath it. They were both discovered by Albert Marth on Mar 3, 1864.. To some astronomers, the galaxy looks like a penguin or a porpoise. NGC 2936, NGC 2937, and PGC 1237172 are included in the Atlas of Peculiar Galaxies as Arp 142 in the category “Galaxy triplet”.

On 20 June 2013, the Hubble Space Telescope examined and photographed NGC 2936.

NGC 2936 was once part of a flat, spiral disk. The orbits of the galaxies stars have been mixed due to gravitational tidal interactions with NGC 2937. Gas from the center of NGC 2936 became compressed out during the encounter with NGC 2937, which is shown as blue knots closest to NGC 2937. The red dust that has been inside the center of the galaxy has been mostly thrown out due to the collision. During the collision, gas coming from NGC 2936 triggered star formation.

Thomas Earl Petty (October 20, 1950 – October 2, 2017) was an American singer-songwriter, multi-instrumentalist, record producer, and actor. He was the lead vocalist and guitarist of Tom Petty and the Heartbreakers, formed in 1976. He previously led the band Mudcrutch, and was also a member of the late 1980s supergroup the Traveling Wilburys.

Petty recorded a number of hit singles with the Heartbreakers and as a solo artist. His hit singles with the Heartbreakers include “Don’t Do Me Like That” (1979), “Refugee” (1980), “The Waiting” (1981), “Don’t Come Around Here No More” (1985) and “Learning to Fly” (1991). Petty’s hit singles as a solo act include “I Won’t Back Down” (1989), “Free Fallin’” (1989), and “You Don’t Know How It Feels” (1994). In his career, he sold more than 80 million records worldwide, making him one of the best-selling music artists of all time. Petty and the Heartbreakers were inducted into the Rock and Roll Hall of Fame in 2002.

Petty died of an accidental drug overdose on October 2, 2017, one week after the end of the Heartbreakers’ 40th Anniversary Tour.

Eddie Harris (October 20, 1934 – November 5, 1996) was an American jazz musician, best known for playing tenor saxophone and for introducing the electrically amplified saxophone. He was also fluent on the electric piano and organ. His best-known compositions are “Freedom Jazz Dance”, recorded and popularized by Miles Davis in 1966, and “Listen Here.”

Harris was born and grew up in Chicago. His father was from Cuba and his mother from Mississippi. He studied music under Walter Dyett at DuSable High School, as had many other successful Chicago musicians (such as Nat King Cole, Dinah Washington, Clifford Jordan, Johnny Griffin, Gene Ammons, Julian Priester, and Bo Diddley and others). He later studied music at Roosevelt University, by which time he was proficient on piano, vibraphone, and tenor saxophone. While in college, he performed professionally with Gene Ammons.

After college, Harris was drafted into the United States Army and while serving in Europe, he was accepted into the 7th Army Band, which also included Don Ellis, Leo Wright, and Cedar Walton.

Leaving military service, he worked in New York City before returning to Chicago where he signed a contract with Vee Jay Records. His first album for Vee Jay, Exodus to Jazz, included his own jazz arrangement of Ernest Gold‘s theme from the movie Exodus. A shortened version of this track, which featured his masterful playing in the upper register of the tenor saxophone, was heavily played on radio and became the first jazz record ever to be certified gold.

William “Willie” Jones, Jr. (October 20, 1929 – April 1991) was a jazz drummer. He is known for playing and recording with Thelonious Monk, Elmo Hope, and Charles Mingus.

Jones was born in New York on October 20, 1929. He mainly taught himself to play the drums, and played left handed. He played and recorded with pianist Thelonious Monk in 1953,including on the album Thelonious Monk and Sonny Rollins. This recording, on November 13, was Jones’ first. He also appeared with Monk on the television program The Tonight Show, on June 10, 1955. Jones was sideman for another pianist’s recording in 1955 – Elmo Hope‘s Meditations; and for Randy Weston‘s The Modern Art of Jazz by Randy Weston in the following year.^[3]:1491 In 1956 Jones had a two-week engagement with Monk in Philadelphia.^[2]:212 Jones also played with Kenny Dorham, J. J. Johnson, Charlie Parker, and Cecil Payne in the mid-1950s.

Ferdinand Joseph LaMothe (September 20, c. 1890 – July 10, 1941), known professionally as Jelly Roll Morton, was an American ragtime and jazz pianist, 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. Morton also wrote “King Porter Stomp“, “Wolverine Blues“, “Black Bottom Stomp“, and “I Thought I Heard Buddy Bolden Say”, the last 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”. In 2013, Katy Martin published an article arguing that Alan Lomax‘s book of interviews put Morton in a negative light. Lomax disagreed that Morton was an egotist. “In being called a supreme egotist, Jelly Roll was often a victim of loose and lurid reporting. If we read the words that he himself wrote, we learn that he almost had an inferiority complex and said that he created his own style of jazz piano because ‘All my fellow musicians were much faster in manipulations, I thought than I, and I did not feel as though I was in their class.’ So he used a slower tempo to permit flexibility through the use of more notes, a pinch of Spanish to give a number of right seasoning, the avoidance of playing triple forte continuously, and many other points”. – Quoted in John Szwed, Dr. Jazz.

https://www.youtube.com/watch?v=bVUyvwtHTnw

Arp 147 (also known as IC 298) is an interacting pair of ring galaxies. It lies 430 million to 440 million light years away in the constellation Cetus and does not appear to be part of any significant galaxy group. The system was originally discovered in 1893 by Stephane Javelle and is listed in the Atlas of Peculiar Galaxies.

The system was formed when a spiral galaxy (image right) collided with an elliptical galaxy (image left). The collision produced an expanding wave of star production (shown as bright blue) traveling at an effective speed of ≳100 km s⁻¹ and began some 40 million years ago. The most extreme period of star formation is estimated to have ended 15 million years ago and as the young, super hot stars died (as exploding supernovas) they left behind neutron stars and black holes.

Roland Dyens (French: [ʁɔlɑ̃ djɑ̃s]) (October 19, 1955 – October 29, 2016) was a French classical guitarist, composer, and arranger. Dyens was born in Tunisia and lived most of his life in Paris. He studied with Spanish classical guitarist Alberto Ponce and with Désiré Dondeyne.

As a performer, Dyens was known for improvisation. Sometimes he opened his concerts with an improvised piece, and he might improvise the program itself, without planning or announcing beforehand what he would be playing. He said that a journalist once told him he had the hands of a classical musician but the mind of a jazz musician. He played Bach suites and he played with jazz musicians at the Arvika Festival in Sweden. A heavy metal band did a version of the third movement of his Libra Sonatine.

Peter M. Tosh, OM (born Winston Hubert McIntosh; 19 October  1944 – 11 September 1987) was a Jamaican reggae musician. Along with Bob Marley and Bunny Wailer, he was one of the core members of the band the Wailers (1963–1976), after which he established himself as a successful solo artist and a promoter of Rastafari. He was murdered in 1987 during a home invasion.

Tosh was born in Westmoreland, the westernmost parish of Jamaica. He was abandoned by his parents and “shuffled among relatives.” When McIntosh was fifteen, his aunt died and he moved to Trenchtown in Kingston, Jamaica. He first learned guitar after watching a man in the country play a song that captivated him. He watched the man play the same song for half a day, memorizing everything his fingers were doing. He then picked up the guitar and played the song back to the man. The man then asked McIntosh who had taught him to play; McIntosh told him that he had. During the early 1960s, as an aspiring musician, Tosh went to vocal teacher Joe Higgs, who gave free music lessons to young people. Through his contact with Higgs, Tosh met Robert Nesta Marley (Bob Marley) and Neville O’Reilly Livingston (Bunny Wailer).

Willie Lee Perryman (October 19, 1911 – July 25, 1985), usually known professionally as Piano Red and later in life as Dr. Feelgood, was an American blues musician, the first to hit the pop music charts. He was a self-taught pianist who played in the barrelhouse blues style (a loud percussive type of blues piano suitable for noisy bars or taverns). His performing and recording careers emerged during the period of transition from completely segregated “race music” to rhythm and blues, which was marketed to both white and black audiences. Some music historians credit Perryman’s 1950 recording “Rocking With Red” for the popularization of the term rock and roll in Atlanta. His simple, hard-pounding left hand and his percussive right hand, coupled with his cheerful shout, brought him considerable success over three decades.

Farid al-Atrash (Arabic: فريد الأطرش‎; October 19, 1910 – December 26, 1974), also written Farid El-Atrache, was a Syrian–Egyptian composer, singer, virtuoso oud player, and actor. Having immigrated to Egypt at the age of only nine years old with his mother and siblings, he studied there under numerous respected musicians. Al-Atrash embarked on a highly successful career spanning more than four decades—recording 500 songs and starring in 31 movies. Sometimes referred to as “King of the Oud”, he is one of the most important figures of 20th century Arab music.

Marcus Vinícius da Cruz e Mello Moraes (19 October 1913 – 9 July 1980), also known as Vinícius de Moraes (Portuguese pronunciation: [viˈnisjuʃ dʒi moˈɾajʃ]) and nicknamed O Poetinha (“The little poet”), was a Brazilian poet, lyricist, essayist, and playwright. Along with frequent collaborator Antônio Carlos Jobim, his lyrics and compositions were part of the birth of bossa nova music. He recorded several albums and also served as a diplomat.