Ten thousand years ago, before the dawn of recorded human history, a new light would have suddenly have appeared in the night sky and faded after a few weeks. Today we know this light was from asupernova, or exploding star, and record the expanding debris cloud as the Veil Nebula, a supernova remnant. This sharp telescopic view is centered on a western segment of the Veil Nebula cataloged as NGC 6960 but less formally known as the Witch’s Broom Nebula. Blasted out in the cataclysmic explosion, the interstellar shock wave plows through space sweeping up and exciting interstellar material. Imaged with narrow band filters, the glowing filaments are like long ripples in a sheet seen almost edge on, remarkably well separated into atomic hydrogen (red) and oxygen (blue-green) gas. The complete supernova remnant lies about 1400 light-years away towards the constellation Cygnus. This Witch’s Broom actually spans about 35 light-years. The bright star in the frame is 52 Cygni, visible with the unaided eye from a dark location but unrelated to the ancient supernova remnant.
Stephen James Howe (born 8 April 1947) is an English musician, songwriter and producer, best known as the guitarist in the rock band Yes across three stints since 1970. Born in Holloway, North London, Howe developed an interest in the guitar and began to learn the instrument himself at age 12. He embarked on a music career in 1964, first playing in several London-based blues, covers, and psychedelic rock bands for six years, including the Syndicats, Tomorrow, and Bodast.
Upon joining Yes in 1970, Howe helped to establish the band’s change in sound, a change that led to their commercial and critical success. Many of their best-known songs were co-written by Howe, who remained with the band until they briefly disbanded in 1981. Howe returned to the group in 1990 for two years and has remained a full time member since 1995.
Howe achieved further success in the 1980s and beyond as a member of the rock bands Asia, GTR, and Anderson Bruford Wakeman Howe. He also has a prolific solo career, releasing 20 solo albums that reached varied levels of success and collaborated with artists such as Frankie Goes to Hollywood, Martin Taylor, and Queen. He continues to perform with Yes, as a member of his jazz group, the Steve Howe Trio, and as a solo act. In April 2017, Howe was inducted into the Rock and Roll Hall of Fame as a member of Yes.
McClennan was born in Durant, Mississippi, and grew up in the town. He played and sang blues in a rough, energetic style.
He made a series of recordings for Bluebird Records from 1939 through 1942. He regularly played with his friend Robert Petway. His voice is heard in the background on Petway’s recording of “Boogie Woogie Woman” (1942). McClennan’s singles in this period included “Bottle It Up and Go“, “New Highway No. 51”, “Shake ‘Em on Down“, and “Whiskey Head Woman”
Carmen Mercedes McRae (April 8, 1922 – November 10, 1994) was an American jazz singer. She is considered one of the most influential jazz vocalists of the 20th century and is remembered for her behind-the-beat phrasing and ironic interpretation of lyrics. McRae was inspired by Billie Holiday, but she established her own voice. She recorded over sixty albums and performed worldwide.
McRae was born in Harlem. Her father, Osmond, was originally from Costa Rica, and her mother, Evadne McRae, an immigrant from Jamaica. She began studying piano when she was eight, and the music of jazz greats such as Louis Armstrong and Duke Ellington filled her home. When she was just 17 years old she met singer Billie Holiday. As a teenager McRae came to the attention of Teddy Wilson and his wife, the composer Irene Kitchings Wilson. One of McRae’s early songs, “Dream of Life”, was, through their influence, recorded in 1939 by Wilson’s long-time collaborator Billie Holiday. McRae considered Holiday to be her primary influence. She was a lifelong active Democrat
Matato’a is a Chilean music and dance group from Rapa Nui (Easter Island) in the Pacific. The name of the group means The Warriors. It performs a combination of rock music with Rapa Nui, Polynesian and Latino styles.
Know the Right
This composite picture created from images from several space- and ground-based telescopes tells the story of the hunt for an elusive missing object hidden amid a complex tangle of gaseous filaments in the Small Magellanic Cloud, a dwarf galaxy approximately 200,000 light-years from us outside the Milky Way Galaxy. The reddish background image comes from the NASA/ESA Hubble Space Telescope and reveals the wisps of gas forming the supernova remnant 1E 0102.2-7219 in green. The red ring with a dark center is from the MUSE instrument on ESO’s Very Large Telescope and the blue and purple images are from NASA’s Chandra X-Ray Observatory. The blue spot at the center of the red ring is an isolated neutron star with a weak magnetic field, the first identified outside the Milky Way.
Frederick Dewayne Hubbard (April 7, 1938 – December 29, 2008) was an American jazz trumpeter. He was known primarily for playing in the bebop, hard bop, and post-bop styles from the early 1960s onwards. His unmistakable and influential tone contributed to new perspectives for modern jazz and bebop.
Ramón “Mongo” Santamaría Rodríguez (April 7, 1917 – February 1, 2003) was a rumba quinto master and an Afro-Cuban Latin jazz percussionist. He is most famous for being the composer of the jazz standard “Afro Blue“, recorded by John Coltrane among others. In 1950 he moved to New York City where he played with Perez Prado, Tito Puente, Cal Tjader, Fania All Stars, etc. He was an integral figure in the fusion of Afro-Cuban rhythms with R&B and soul, paving the way for the boogaloo era of the late 1960s. His 1963 hit rendition of Herbie Hancock‘s “Watermelon Man” (recorded on December 17, 1962) was inducted into the Grammy Hall of Fame in 1998.
Mongo Santamaría was one of a handful of Cuban congueros (“conga players”) who came to the United States in the 1940s and 1950s. Other notable congueros who came to the U.S. during that time include Armando Peraza, Chano Pozo, Francisco Aguabella, Julito Collazo, Carlos Vidal Bolado and Modesto Durán. Many[who?] consider Santamaría to have been the greatest conga drummer of the twentieth century.
Santamaría learned rumba as a kid in the streets of Havana’s Jesús María barrio. He reminisced: “In the neighborhood where I came from we had all kinds of music, mostly from Africa. We did not leave it alone; we changed it our way. The music we made dealt with religion and conversation. The drum was our tool and we used it for everything”. Gerard points out: “Santamaría, like other drummers of his generation, learned music in the streets by observing different drummers. When he started playing professionally, he learned on the job. His approach was utilitarian, not theoretical”.Santamaría was mentored on bongos and rumba quinto by Clemente “Chicho” Piquero, who played in Beny Moré’s band. He recalled: “I would go with Chicho and play the tumbadora and also the [quinto]. I would play everything because I learned a lot from Chicho—because he could play everything”.