The Antennae Galaxies (also known as NGC 4038 and 4039) are a pair of distorted colliding spiral galaxies about 70 million light-years away, in the constellation of Corvus (The Crow). This view combines ALMA observations, made in two different wavelength ranges during the observatory’s early testing phase, with visible-light observations from the NASA/ESA Hubble Space Telescope.
The Hubble image is the sharpest view of this object ever taken and serves as the ultimate benchmark in terms of resolution. ALMA observes at much longer wavelengths which makes it much harder to obtain comparably sharp images. However, when the full ALMA array is completed its vision will be up to ten times sharper than Hubble.
Most of the ALMA test observations used to create this image were made using only twelve antennas working together — far fewer than will be used for the first science observations — and much closer together as well. Both of these factors make the new image just a taster of what is to come. As the observatory grows, the sharpness, speed, and quality of its observations will increase dramatically as more antennas become available and the array grows in size. This is nevertheless the best submillimetre-wavelength image ever taken of the Antennae Galaxies and opens a new window on the submillimetre Universe.
While visible light — shown here mainly in blue — reveals the newborn stars in the galaxies, ALMA’s view shows us something that cannot be seen at those wavelengths: the clouds of dense cold gas from which new stars form. The ALMA observations — shown here in red, pink and yellow — were made at specific wavelengths of millimetre and submillimetre light (ALMA bands 3 and 7), tuned to detect carbon monoxide molecules in the otherwise invisible hydrogen clouds, where new stars are forming.
Massive concentrations of gas are found not only in the hearts of the two galaxies but also in the chaotic region where they are colliding. Here, the total amount of gas is billions of times the mass of the Sun — a rich reservoir of material for future generations of stars. Observations like these will be vital in helping us understand how galaxy collisions can trigger the birth of new stars. This is just one example of how ALMA reveals parts of the Universe that cannot be seen with visible-light and infrared telescopes.
Campbell moved to Chicago at the age of ten, and by age 12 was learning from the blues musicians Muddy Waters, Magic Sam, and Otis Rush. In his early years as a professional musician, he played as a sideman with Howlin’ Wolf, Little Walter, Little Johnny Taylor, and Jimmy Reed. In 1976, Willie Dixon hired him to play in the Chicago Blues All-Stars. Campbell’s debut album, King of the Jungle, featuring Carey Bell on harmonica and Lafayette Leake on piano, was released the next year.
Friesen was an autodidact on bass, having picked it up while serving in the U.S. Army in Germany. He played with John Handy and Marian McPartland and following this, with Joe Henderson; in 1975, he toured in Europe with Billy Harper. His first album as a session leader appeared that year. In 1976, he began collaborating with guitarist John Stowell; the pair would work together often. He appeared with Ted Curson at the Monterey Jazz Festival in 1977. Following this, he worked with Ricky Ford, Duke Jordan, Mal Waldron, and Paul Horn. His 1989 album Other Times, Other Places reached No. 11 on the U.S. Billboard Top Jazz Albums chart. He has also played with Chick Corea, Michael Brecker, Stan Getz, Dexter Gordon, Kenny Garrett, Dizzy Gillespie, and Mal Waldron.
The song was first performed by the rebetiko Michalis Patrinos in Athens in 1927. As with almost all the early rebetika songs, the original composer of the song remained unknown, and the ensemble was enshrined in the head of the club. The melody was probably collectively composed by the musicians, as was often the case at that time, while the lyrics were almost certainly Patriot’s. In the original version of the song, the name of the title girl was suggested by Patinos “Mousourlou”, with heavy Smyrnian accent.
As Performed by Positive Vibrations at Mayday today
ESO’s Very Large Telescope in Chile has captured the most detailed image ever taken of the Medusa Nebula (also known Abell 21 and Sharpless 2-274). As the star at the heart of this nebula made its final transition into retirement, it shed its outer layers into space, forming this colourful cloud. The image foreshadows the final fate of the Sun, which will eventually also become an object of this kind.
The Medusa Nebula is a large planetary nebula in the constellation of Gemini on the Canis Minor border. It also known as Abell 21 and Sharpless 2-274. It was originally discovered in 1955 by UCLA astronomer George O. Abell, who classified it as an old planetary nebula. The braided serpentine filaments of glowing gas suggests the serpent hair of Medusa found in ancient Greek mythology.
Until the early 1970s, the Medusa was thought to be a supernova remnant. With the computation of expansion velocities and the thermal character of the radio emission, Soviet astronomers in 1971 concluded that it was most likely a planetary nebula.
As the nebula is so big, its surface brightness is very low, with surface magnitudes of between +15.99 and +25 reported. Because of this most websites recommend at least an 8-inch (200 mm) telescope with an [O III] filter to find this object although probably possible to image with smaller apertures.
Stanley Cowell (born May 5, 1941 Toledo, OH) is an American jazz pianist and co-founder of the Strata-East Records label. He played with Roland Kirk while studying at the Oberlin Conservatory of Music, and later with Marion Brown, Max Roach, Bobby Hutcherson, Clifford Jordan, Harold Land, Sonny Rollins and Stan Getz. Cowell played with trumpeter Charles Moore and others in the Detroit Artist’s Workshop Jazz Ensemble in 1965-66. During the late 1980s Cowell was part of a regular quartet led by J.J. Johnson. Cowell teaches in the Music Department of the Mason Gross School of the Arts at Rutgers, the State University of New Jersey.
Blind Willie McTell (born William Samuel McTier; May 5, 1898 – August 19, 1959) was a Piedmont blues and ragtime singer and guitarist. He played with a fluid, syncopated fingerstyle guitar technique, common among many exponents of Piedmont blues. Unlike his contemporaries, he came to use twelve-string guitars exclusively. McTell was also an adept slide guitarist, unusual among ragtime bluesmen. His vocal style, a smooth and often laid-back tenor, differed greatly from many of the harsher voices of Delta bluesmen such as Charley Patton. McTell performed in various musical styles, including blues, ragtime, religious music and hokum.
McTell was born in Thomson, Georgia. He learned to play the guitar in his early teens. He soon became a street performer in several Georgia cities, including Atlanta and Augusta, and first recorded in 1927 for Victor Records. He never produced a major hit record, but he had a prolific recording career with different labels and under different names in the 1920s and 1930s. In 1940, he was recorded by the folklorist John A. Lomax and Ruby Terrill Lomax for the folk song archive of the Library of Congress. He was active in the 1940s and 1950s, playing on the streets of Atlanta, often with his longtime associate Curley Weaver. Twice more he recorded professionally. His last recordings originated during an impromptu session recorded by an Atlanta record store owner in 1956. McTell died three years later, having suffered for years from diabetes and alcoholism. Despite his lack of commercial success, he was one of the few blues musicians of his generation who continued to actively play and record during the 1940s and 1950s. He did not live to see the American folk music revival, in which many other bluesmen were “rediscovered.