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tcm · 4 years ago

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Overlooked Bernard Herrmann Scores By Jessica Pickens

His name is synonymous with staccato violin notes that remind audiences of knife stabbing and have made many reluctant to take a shower. Composer Bernard Herrmann is the master behind iconic scores for films like THE DEVIL AND DANIEL WEBSTER (’41) and PSYCHO (’60). The Academy Award-winning composer scored the two films that are often argued to be the best of all-time: CITIZEN KANE (’41) and VERTIGO (’58). His work continues to be reused in pop culture, from his whistling TWISTED NERVE (’68) theme used in Quentin Tarantino’s KILL BILL: VOLUME 1 (2003) to Lady Gaga using part of VERTIGO’s prelude in her “Born This Way” music video.

Known best for his collaborations with directors Alfred Hitchcock and Orson Welles, other works of Herrmann’s often go overlooked. Below are a few of his scores that are less often discussed.

JANE EYRE (’43)

In this adaptation of Charlotte Brontë’s novel, Jane Eyre (Joan Fontaine), who is hired by the wealthy Edward Rochester (Orson Welles), works as the governess for Rochester’s daughter which leads to her discovering secrets in the house. “On a project like ‘Jane Eyre,’ I didn’t need to see the film beforehand. One just remembers the book,” Herrmann said in a 1975 interview, discussing this film’s score.

JANE EYRE was Herrmann’s first project with 20th Century-Fox, which started a 19-year partnership with the studio and a long friendship with composer and Fox music director Alfred Newman. Fox studio head Darryl F. Zanuck initially sought composer Igor Stravinsky to score the film, but negotiations fell through. Producer David O. Selznick and Welles were the driving force behind hiring Herrmann for the project, according to Herrmann’s biographer Steven Smith.

Herrmann’s score has a dark, gothic feel that matches the theme of the novel. New York Herald Tribune composer critic Paul Bowles described the score as “gothic extravagance and poetic morbidities. It contains some of the most carefully wrought effects to be found in recent film scores,” Bowles wrote. According to Smith, Herrmann called it his first “screen opera.” The score foreshadowed work on another Brontë project — his “Wuthering Heights” opera that didn’t see a full theatrical performance until 2011.

ON DANGEROUS GROUND (‘51)

Directed by Nicholas Ray, an adaptation of Gerald Butler’s book Mad with Much Heart. The film follows a rough city police officer, Jim Wilson (Robert Ryan). After Jim is too violent with a suspect, he is sent to a rural area as punishment. His job is to help with a manhunt for the murderer of a child. A blind woman, Mary Malden (Ida Lupino) is the sister of the murderer, and she tries to convince Jim to protect her brother.

ON DANGEROUS GROUND is one of Herrmann’s few film noir scores. Film noir expert and host of TCM’s Noir Alley Eddie Muller said, "Herrmann's score is one of the most distinctive crime scores of the era." In a June 2019 introduction of the film, Muller noted “Herrmann’s score is unlike any other music written for film noir. A dramatic clash of brass, strings and percussion that goes a long way to unify the film’s unusual — almost schizophrenia — structure.”

Herrmann admired Ray’s storytelling and engineered a creative score that illustrated good and evil. For Lupino’s character, Herrmann used the viola soloist Virginia Majewski, who Herrmann advocated to have on-screen credit. Herrmann also had the rare freedom to compose, orchestra and conduct the entire score. The most notable cue is “The Death Hunt,” that has a driving, frantic tempo and can be compared to his later NORTH BY NORTHWEST (’59) score. Muller noted that to make sure “The Death Hunt” cue was effective, Herrmann fought to have the sound mix corrected during the scene so that the barking dogs wouldn’t drown out his score.

THE SNOWS OF KILIMANJARO (1952)

Based on an Ernest Hemingway short story, Gregory Peck plays Harry, a novelist who uses his earnings to travel. While on safari in Africa, Harry suffers an injury that results in a deadly infection. As he lies dying, he thinks back on his life and past romances, and his safari companion Helen, played by Susan Hayward, nurses Harry through his illness.

While some of Herrmann’s most famous scores drive thrillers and adventures, scores like THE SNOWS OF KILIMANJARO show he can create beautiful, gentle and charming tunes. His cues are dreamy and wistful, matching the mental state of the ill Harry, whose mind travels to the past while on his death bed. Herrmann’s cue entitled, “The Memory Waltz,” is particularly dreamy. Herrmann said he tried to create music of “a highly nostalgic nature” as a man dies and deals with his “emotional past.”

On the film’s release, New York Times film critic Bosley Crowther praised Herrmann’s score. “For it is Mr. Herrmann’s music, singing sadly and hauntingly, that helps one sense the pathos of dead romances and a wasted career. A saxophone and a piano in a Paris studio, an accordion on an old Left Bank bar and an arrogant guitarist in a Spanish café—these are also actors in the film. Perhaps they come closer to stating what Hemingway had to say.”

MARNIE (1964)

Marnie (Tippi Hedren) is a thief who suffers from psychological trauma of her past, which comes to a head after she marries a widower (Sean Connery) from a wealthy Philadelphia family who does not readily accept her. MARNIE was the end of an era. It marked the last of seven films that Herrmann collaborated on with director Alfred Hitchcock on, beginning with THE TROUBLE WITH HARRY (’55).

Much had changed for both Herrmann and Hitchcock by 1964, including how they were both viewed by Hollywood executives. Herrmann and Hitchcock were being pressured to be more “hip” for 1960s audiences. The studio even urged Hitchcock not to hire “old-fashioned” Herrmann. But if Hitchcock did hire Herrmann, they encouraged him to also have a title pop song, according to Smith. The film was a box-office failure — Hitchcock’s first failure in many years. Today, the film is now appreciated by audiences, but Herrmann’s score still is often overlooked when compared to other Hitchcock titles.

The main title of MARNIE features blaring horns, which sound haphazard against more melodic violins — illustrating the mix of trauma and beauty. A notable cue is “The Foxhunt,” which begins with a jaunty, almost cheerful, tune filled with horns and violins. But the cue turns more haphazard and frantic as it continues. While this was Herrmann’s last completed score for Hitchcock, Herrmann started work on TORN CURTAIN (’66) but was replaced due to artistic differences.

IT’S ALIVE (’74)

The Davies family (Sharon Farrell and John P. Ryan) are expecting their second child. But when their baby is born, he is a monster who kills anyone in his path. The 1970s marked a new era for Bernard Herrmann. He began working with younger filmmakers who appreciated his work of the past. These included Martin Scorsese and Brian De Palma. One of these collaborations spawned a friendship with director of IT’S ALIVE, Larry Cohen, who cited Herrmann as a major influence in his career up until his death in 2019.

Herrmann enjoyed the experience with his film because he enjoyed working with Cohen. To add to the eerie, creepy vibe of the film, Herrmann incorporated a Moog synthesizer into the score. He also uses a viola for a mournful note, according to Smith. Herrmann also had fun naming his cues, such as “The Milkman Goeth” when the baby kills the milkman.

Herrmann was set to work with Cohen again for the film GOD TOLD ME TO (’76), but Herrmann died in 1975 before he could begin.

#Bernard Herrmann #scores #music scores #compositions #theme songs #Vertigo #Marnie #Alfred Hitchcock #Larry Cohen #Orson Welles #Gregory Peck #Ida Lupino #TCM #Turner Classic Movies #Jessica Pickens

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andromeda1023 · 4 years ago

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^A graphical representation of the Milky Way showing its warped outer edges.

A warp in the Milky Way linked to galactic collision

When most of us picture the shape of the Milky Way, the galaxy that contains our own sun and hundreds of billions of other stars, we think of a central mass surrounded by a flat disc of stars that spiral around it. However, astronomers know that rather than being symmetrical, the disc structure is warped, more like the brim of a fedora, and that the warped edges are constantly moving around the outer rim of the galaxy.

"If you have ever seen the audience making a wave in a stadium, it's very similar to that concept," said Xinlun Cheng, an astronomy graduate student in the University of Virginia's College and Graduate School of Arts & Sciences. "Each member of the audience stands up and then sits down at the correct time and in the correct order to create the wave as it goes around the stadium. That's exactly what stars in our galaxy are doing. Only in this case, as the wave is going around the galaxy's disk, the galaxy disk is also rotating around the center of the galaxy. In terms of the sports-fan analogy, it's as if the stadium itself is also rotating."

What caused that warp to occur has been the subject of debate. Some researchers suggest that the phenomenon is a result of the instability of the galaxy itself, while others assert that it is the remnant of a collision with another galaxy in the distant past.

A recent article published in the Astrophysical Journal by Cheng, who studies the movements of the stars, and his colleagues, Borja Anguiano, a post-doctoral research associate at UVA, and Steve Majewski, a professor in the College's Department of Astronomy, may finally put that debate to rest.

Continue reading: https://phys.org/news/2021-02-warp-milky-linked-galactic-collision.html

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bdscuatui · 5 years ago

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Mcdonell; Joseph Mcdonell đến Ngân hàng M & t, $ 77,732.SARDINIA • Đường Olean, Mark I LLC đến Mark A. Kless, $ 76,560.CITY OF TONAWANDA • 60 Broad St., D Avid Commercial Properties LLC đến Veg Properties LLC, $ 210.000. • 739 Fletcher St. , Maryann S. Miller; Thomas D. Miller đến Salvatore Niro; Samantha Niro, 152.000 đô la. • 145 Syracuse St., Richard George Sửa sang Bradley N. Sciandra; Raelyn A. Sciandra, 130.000 đô la. • 43 Schuler Ave., Justina Heerdt; Richard Heerdt đến Paige Gore; Luke William Koren, 125.000 đô la.TONAWANDA • 1840 Military Road, Borowski Enterprises LLC đến Classic Lanes Realty LLC, 950.000 đô la. • 167 Irving Terrace, Karolynne M. Walters đến Ye Wu, 214.900 đô la. • 80 Marquette Ave., Ryann Hartmayer cho Kathryn R. Eskew; Ron W. Eskew, 180.000 đô la. • 19-25 Hale Court, V & f Property Management LLC đến G & w Capital Real Real LLC, 165.000 đô la. • 45 Fairlane Ave., Willard A. Sanscrainte Sr. đến Dawn L. 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yespoetry · 7 years ago

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Janice Majewski: The Ungodly Courage to Die

A reading from the letter of Paul to the Romans

pour hea t through

the ungodly

courage to die.

we were still

we were

we are now

will we be

while we were

we were

will we be

we have now

Janice Majewski is a poet living in Northern Virginia. Her work can be found in Entropy, Moonsick Magazine, Reality Beach and is forthcoming in The Cincinnati Review and Blackbird. She is poetry editor for Phoebe.

#Janice Majewski #special feature #poetry

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airmanisr · 5 years ago

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flickr

200107-N-KB401-1185 by U.S. Pacific Fleet Via Flickr: PEARL HARBOR (Jan. 7, 2020) Capt. Paul Davis speaks during a change of command ceremony for Submarine Squadron (SUBRON) 7 at the submarine piers at Joint Base Pearl Harbor-Hickam. During the ceremony, which was held on the Los Angeles-class fast-attack submarine USS Jefferson City (SSN 759), Capt. Michael Majewski, from Toledo, Ohio, relieved Davis, from Harrisonburg, Virginia, as SUBRON 7's commodore. (U.S. Navy photo by Mass Communication Specialist 1st Class Michael B. Zingaro/Released)

#Submarine

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sharing-one-sky-iii · 6 years ago

Photo

WORKSHOP OBJECTIVES

The focus of the workshop is astronomy education and public outreach, with a particular focus on sharing strategies and methods, creating cross-cultural and multi-lingual ventures, forming E/PO collaborations, and exploiting the science and international reach of the Sloan Digital Sky Survey (SDSS) and the Apache Point Observatory Galactic Evolution Experiment (APOGEE) — which is operating from parallel sites in the U.S. and Chile — for fostering these activities. We wish to bring together astronomers, educators, and journalists to achieve the above objectives, and also formulate methods by which we can promote the public face of SDSS and APOGEE within Chile, across the Americas and beyond.

VENUE

The conference will be located in the Hotel Antofagasta, in Antofagasta, Chile. This is the same venue where the XVIth Latin American Regional Meeting of the IAU (LARIM) is happening. For additional information about the LARIM, the venue, and Antofagasta city, we invite you to visit the LARIM website:

www.sochias.cl/larim2019

SCIENTIFIC ORGANIZING COMMITTEE

Steven Majewski (University of Virginia) Maria Argudo-Fernández (Pontificia Universidad Católica de Valparaíso) Manuela Zoccali (Pontificia Universidad Católica de Chile) Javier Alonso (Universidad de Antofagasta) Jura Borissova (Universidad de Valparaíso) Radostin Kurtev (Universidad de Valparaíso) David Whelan (Austin College) (Chair) Rachael Beaton (The Carnegie Observatories) Karen Masters (Haverford College) Anne-Marie Weijmans (University of St Andrews) Britt Lundgren (University of North Carolina - Asheville) Rita Tojeiro (University of St Andrews) Mariana Cano Diaz (Universidad Nacional Autónoma de México) Claudia Araya Salvo (LSST/AURA)

LOCAL ORGANIZING COMMITTEE

Maria Argudo-Fernández (Pontificia Universidad Católica de Valparaíso) (Chair) Christian Nitschelm (Universidad de Antofagasta) Eduardo Unda-Sanzana (Universidad de Antofagasta) Jura Borissova (Universidad de Valparaíso) Radostin Kurtev (Universidad de Valparaíso) Juan Pablo Colque (Universidad de Antofagasta)

REGISTRATION/LODGING

Attendees are responsible for making their own hotel reservations in Antofagasta. However the hotel of the venue offers a reduced price for participants. We also provide help for childcare services, contact us in case you are interested.

Attendees should also please register for the workshop on the registration form goo.gl/2AS3Mw not later than October 1st 2019, or cut/paste the information below and emailing us using the form in ‘Contact Us’ at the right. School teachers from Chile and abroad who require a travel grant can apply for one at registration. We welcome contributions both in Spanish and English since we will have simultaneous translation.

Name: Institution: Email address: I request to make a contributed talk/poster: Title and abstract of your contribution: I am interested in the Apogee Plate workshop (yes/no): I am interested in the training on Voyages & Sciserver (yes/no): I am interested in the training on Astronomy & Inclusion (yes/no): I am interested in the training on ZooUniverse (yes/no): I am interested in the AstroAventura activity (yes/no): I would like to be considered for one of the travel grants (Only for school teachers) (yes/no):

Sponsors: Conference funded by the Center for Global Inquiry + Innovation in partnership with the Vice President for Research and the Dean of the College of Arts and Sciences at the University of Virginia, the Sloan Digital Sky Survey, the Open Astronomy Schools IAU100 Global Project, as well as the University of Antofagasta, the University of Valparaiso, and the Millennium Institute of Astrophysics (MAS).

*Poster image: Map of DIB absorption strength from SDSS infrared and optical spectroscopy (Lan et al. 2015; Zasowski et al. 2015). Image Credit: T. W. Lan

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altslashtab · 4 years ago

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Legislation and Policy Development During the Monroe Presidency

The Presidency of James Monroe contained major developments in the United States political domain. The period between 1816 to 1824 that brought the inclusion of several new states and the greater organization of the recently acquired Louisiana territory. Many of these processes expanded friction in the nation over slavery. International relations with Great Britain would provide a backdrop for the development of the northern portions of what would later become part of the United States. Borders with Russia, and Spain would be redrawn through international treaty, and the ideology known as the Monroe Doctrine would be a guiding element of American foreign policy for the foreseeable future. Lastly the limited scope of investment into infrastructure provided the means for canals to overrun highways in importance. The effects of the policies, and the challenges they faced, that developed during President Monroe’s administrations affected the United States future in profound ways that deserve study.

The sectional tension over the nature of slavery in the United States is the most dominant cultural and political aspect of American history before the twentieth century. It was affected in the field of religion, politics, economics, and philosophy. Great leaders and icons arose because of the fundamental disagreements over human bondage. Many northerners were uncomfortable with having to put aside their disapproval of slavery to maintain national unity. Ultimately the north and south were too diametrically opposed in their value systems to maintain peace. In pursuing compromises, such as the Missouri Compromise, the same people who sought to bring justice through peace prolonged the lifespan of slavery until it was resolved through national conflict.

At the end of one of America’s most successful purchases, the Louisiana purchase, was a conundrum over whether the acquired territories would be assimilated into the union as slave or free states. This started a series of dominoes in the American political sphere that would ultimately culminate in the Civil War. Conflicts such as the Missouri compromise, and Kansas-Nebraska Act would have never occurred without this purchase. The sectional rivalries and moral divides in the young nation were expressed by representatives who failed to meet at common ground and had to settle for a lesser equilibrium.

In 1817 the territory of Missouri began its petitioning of congress for statehood in the Union. The result would be infamous depending on the perspective. In 1819 Congress began its consideration of the territory’s entrance as a full state. A representative from New York named James Tallmadge saw the moral opportunity to combat the spread of slavery and introduced legislation into the bill for Missouri statehood preventing new slaves into the state and requiring those born into bondage in the state to be set free at 25 years old. The bill with this legislation was passed in February of the same year and sent to the senate for consideration (Johnson 48-49).

Missouri possessed a great deal of land further south that was sparsely populated. The southern Missourians did not believe they were adequately represented by the more northern portion of the state and had petitioned congress for the status of a separate territory. It was in this bill that representative John W Taylor attempted to insert an amendment of the same nature to that of Tallmadge’s legislation. Taylor proposed an amendment to the Arkansas bill that would prevent the spread of slavery, but unlike the Tallmadge amendment this did not successfully pass the House. Fifteen northern representatives sided with the southern House to prevent the constitution’s admittance of slaves (Johnson 49-56).

The Arkansas bill would be signed into law without a restriction on the introduction of slaves to the territory, and shortly after, on March 3, 1819, the bill bearing the Tallmadge amendment would be defeated in the senate. In the winter after the defeated amendments a second consideration of Missouri’s admittance would take place. During this consideration, the northern state of Maine was also being considered for statehood. Continued failures to legislate against the spread of slavery caused Taylor to suggest a line that would limit slave states to latitudes lower than 36 degrees and 30 minutes which was adopted in the First Missouri Compromise by Senator Jesse B Thomas. The First Missouri Compromise admitted Maine as a free state, and Missouri as a slave state, however no states north of 36 degrees and 30 minutes were to permit slavery (Johnson 48-65).

During Monroe’s presidency the United States acquired Florida from Spain expelling the European presence from the southeastern boundary of the United States. Initially ordered to pacify Seminole tribes that had been harassing Americans, General Andrew Jackson invaded the Florida peninsula. As Fred Greenstein writes, “Rather than positioning his forces in Georgia, Jackson led them well into Florida, where they razed Seminole villages, executed two British subjects for supplying the Indians, and deposed the Spanish governor.” Greenstein goes on to explain that rather than punish General Jackson the Monroe administration supported his actions and utilized the situation to force Spain to cede Florida in the Adams–Onís Treaty also known as the Transcontinental Treaty (279).

Early in the Monroe presidency legislation that had been worked on for quite some time began to see completion. In 1816 the United States and Great Britain stopped producing new warships on the Great Lakes due to the potential harm done by these vessels. In 1818 the United States Congress would approve the Rush-Bagot Treaty, limiting the amount and type of vessels allowed on the Great Lakes. These regulations would not always be followed perfectly but as Barry O’Neill writes in his article discussing the greater results of the Rush-Bagot treaty, “even while being violated the agreement served the function of setting a norm, prompting Britain justify and limit it’s noncompliance,” (20).

A more meaningful treaty in the modern consciousness that was signed with Great Britain during the Monroe administration was the, “Convention Respecting Fisheries, Boundary, and the Restoration of Slaves,” in 1818. Edmond S. Meany states his treaty existed as a, “mutual confession that the future would have to solve the question of actual sovereignty.” The treaty prevented the northwestern American continent past the Rocky Mountains, known as the Oregon territory, from being closed off to either country. The previous treaty with Spain had set the southern boundary of the United State’s territorial claim in the Oregon Territory to the 42nd parallel of latitude. Meany continues to elaborate on relations with Russia where in 1821 Russia had declared their area of control in the Oregon territory leading to further international deliberation. In 1824 the northern boundary of the Oregon territory was agreed to be set at 54 degrees and 40 minutes latitude between the United States and Russia (210-211).

The challenges presented in the years of Monroe’s presidency influenced what would define the remainder of American relations with European powers. On December 2, 1823 President Monroe delivered his seventh annual message to congress where he laid out the strategic interests of the United States against foreign intervention in the Americas. The key statement from the annual message being that the people of the nations of the western hemisphere is not viewed as targets for future colonization the European nations (Monroe).

Furthermore, in his annual message Monroe highlighted the development of transportation through canals saying, “the waters of the Chesapeake and Ohio may be connected together by one continued canal, and at an expense far short of the value and importance of the object to be obtained.” The great backdrop to the legislation of the United States’ growing infrastructure was the Erie Canal. By 1821 the first third of the Erie Canal was producing income for the state government. The completion of the Erie Canal occurred in 1825 and served as a point of American pride in their engineering and economic accomplishments (Burd 25).

The road system in this period also expanded considerably. In the late 18th and early 19th centuries state rivalries helped provoke investment in the improvement of highway systems (Klein and Majewski 475). Without strong interference from the national government the independent companies that produced the turnpikes of New York relied on what Daniel Klein and John Majewski referred to, “community boosterism,” and as the canals grew in importance the turnpike companies began to fail with the roads becoming public highways (504). Robert Hunter writes that Virginia took a somewhat different approach and in 1816, “created a Fund for Internal Improvement, and a Board of Public Works to administer the fund,” (279). The result was ultimately the same with an inefficient but earnest development of roads to connect communities throughout the state.

The policy making of the Monroe era was a complicated effort to navigate through inherited difficulties. Solutions needed to be found for the division between anti-slavery and pro-slavery forces. Powerful empires from around the world had to be contested with. The receding power of Spanish created and opportunity, and the British and Russian powers in the Oregon territory had to be surmounted over the course of decades. These great tests were taking place while the infrastructure of the country was slowly being built. The strategies of President Monroe’s cannot be understated in terms of importance to American history.

Works Cited

Dunn, John F. “Collecting the Presidents: #5: James Monroe.” U.S. Stamp News, vol. 17, no. 1, Jan. 2011, p. 28. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=f5h&AN=57578197&site=ehost-live. Accessed 3 May 2020.

McGill, Sarah Ann. “James Monroe.” James Monroe, Aug. 2017, p. 1. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=f5h&AN=17991903&site=ehost-live. Accessed 3 May 2020.

Johnson, William R. “Prelude to the Missouri Compromise: A New York Congressman's Effort to Exclude Slavery from Arkansas Territory.” The Arkansas Historical Quarterly, vol. 24, no. 1, 1965, pp. 47–66. JSTOR, www.jstor.org/stable/40023964. Accessed 3 May 2020.

Greenstein, Fred I. “The Political Professionalism of James Monroe.” Presidential Studies Quarterly, vol. 39, no. 2, 2009, pp. 275–282. JSTOR, www.jstor.org/stable/41427360. Accessed 4 May 2020.

O'Neill, Barry. “Rush-Bagot and the Upkeep of Arms Treaties.” Arms Control Today, vol. 21, no. 7, 1991, pp. 20–23. JSTOR, www.jstor.org/stable/23624556. Accessed 5 May 2020.

Meany, Edmond S. “Three Diplomats Prominent in the Oregon Question.” The Washington Historical Quarterly, vol. 5, no. 3, 1914, pp. 207–214. JSTOR, www.jstor.org/stable/40474377. Accessed 5 May 2020.

Monroe, James. “Monroe Doctrine.” Monroe Doctrine, Aug. 2017, p. 1. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=f5h&AN=21212458&site=ehost-live. Accessed 4 May 2020.

Burd, Camden. “A New, Historic Canal: The Making of an Erie Canal Heritage Landscape.” IA. The Journal of the Society for Industrial Archeology, vol. 42, no. 2, 2016, pp. 23–34. JSTOR, www.jstor.org/stable/26643089. Accessed 6 May 2020.

Klein, Daniel B., and John Majewski. “Economy, Community, and Law: The Turnpike Movement in New York, 1797-1845.” Law & Society Review, vol. 26, no. 3, 1992, pp. 469–512. JSTOR, www.jstor.org/stable/3053736. Accessed 6 May 2020.

Hunter, Robert F. “The Turnpike Movement in Virginia, 1816-1860.” The Virginia Magazine of History and Biography, vol. 69, no. 3, 1961, pp. 278–289. JSTOR, www.jstor.org/stable/4246760. Accessed 6 May 2020.

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budaallmusic · 7 years ago

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Sarah Vaughan ‎– Orchestra Arranged And Conducted By Michel Legrand #mainstreamrecords 1973 US Arco Bass – Abe Luboff, Mickey Nadel, Milt Kestenbaum*, Pete Mercurio, Ray Siegel Bass – Bob Magnusson, Chuck Berghofer, Ray Brown Cello – Ed Lustgarten*, Emmett Sagent*, Fred Seykora*, Jesse Ehrlich, Marie Fera, Ray Cramer, Ron Cooper* Drums – John Guerin, Shelly Manne Engineer – Chuck Britz French Horn – Art Maebe, Dick Macker, George Price, Ralph Pyle, Dick Perissi*, Sinclair Lott (2), Vince De Rosa*, Bill Hinshaw* Guitar – Tom Tedesco* Guitar [Fender] – Chuck Rainey Harp – Dorothy Remsen, Verlye Mills Keyboards – Artie Kane, Dave Grusin, Mike Wofford Oboe – Arnold Koblenz* Percussion – Larry Bunker Producer – Bob Shad Trombone – Bob Knight*, Charley Loper*, Frank Rosolino, George Roberts, Grover Mitchell, Lloyd Ulyate Trumpet – Al Aarons, Buddy Childers, Chuck Findley, Conte Candoli, Gary Barone Tuba – Tommy Johnson (2) Viola – Alex Neiman*, Allan Harshman, Bob Ostrowski, Dave Schwartz, Mary Newkirk, Milt Thomas*, Myer Bello, Myra Kestenbaum, Rollice Dale, Virginia Majewski Violin – Alex Murray*, Anatol Kaminsky, Arnold Belnick, Bernie Kundell*, Carl Lamaga*, Dorothy Wade, Erno Neufeld, George Berres, George Kast, Gerald Vinci, Glenn Dicterow, Hal Dicterow*, Herman Clebanoff, Irv Geller*, Israel Baker, Jake Krachmilnick, Jim Getzoff*, Joe Chassman, Joe Stepansky*, Marvin Limonick, Mort Herbert, Nathan Kaproff, Ralph Schaeffer, Sam Freed, Shirley Cornell, Thelma Beech Voice – Betty Jane Baker*, Evangeline Carmichael, Gene Merlino, Gene Morford, Jackie Ward, Jan Smith (8), John Bahler, Mitch Gordon, Peggy Clark, Ron Hicklin, Sally Stevens, Sara Jane Kane, Stan Farber, Sue Allen, Suzy McCune, Tom Bahler Woodwind – Bernie Fleischer, Bill Hood, Bob Cooper, Bud Shank, Jerome Richardson, Pete Christlieb

#mainstreamrecords

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bdscuatui · 5 years ago

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andromeda1023 · 7 years ago

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10 Astonishing Things You Should Know About the Milky Way

Our little star and the tiny planets that circle it are part of a galaxy called the Milky Way. Its name comes from the Greek galaxias kyklos ("milky circle") and Latin via lactea ("milky road"). Find a remote area in a national park, miles from the nearest street light, and you'll see exactly why the name makes sense and what all the fuss is about. Above is not a sky of black, but a luminous sea of whites, blues, greens, and tans. Here are a few things you might not know about our spiraling home in the universe.

1. THE MILKY WAY IS GIGANTIC.

The Milky Way galaxy is about 1,000,000,000,000,000,000 kilometers (about 621,371,000,000,000,000 miles) across. Even traveling at the speed of light, it would still take you well over 100,000 years to go from one end of the galaxy to the other. So it's big. Not quite as big as space itself, which is "vastly, hugely, mind-bogglingly big," as Douglas Adams wrote, but respectably large. And that's just one galaxy. Consider how many galaxies there are in the universe: One recent estimate says 2 trillion.

2. IT'S JAM-PACKED WITH CELESTIAL STUFF.

The Milky Way is a barred spiral galaxy composed of an estimated 300 billion stars, along with dust, gas, and celestial phenomena such as nebulae, all of which orbits around a hub of sorts called the Galactic Center, with a supermassive black hole called Sagittarius A* (pronounced "A-star") at its core. The bar refers to the characteristic arrangement of stars at the interior of the galaxy, with interstellar gas essentially being channeled inward to feed an interstellar nursery. There are four spiral arms of the galaxy, with the Sun residing on the inner part of a minor arm called Orion. We're located in the boondocks of the Milky Way, but that is OK. There is definitely life here, but everywhere else is a question mark. For all we know, this might be the galactic Paris.

3. FOR A SPIRAL GALAXY, IT'S PRETTY TYPICAL …

If you looked at all the spiral galaxies in the local volume of the universe, the Milky Way wouldn't stand out as being much different than any other. "As galaxies go, the Milky Way is pretty ordinary for its type," Steve Majewski, a professor of astronomy at the University of Virginia and the principal investigator on the Apache Point Observatory Galactic Evolution Experiment (APOGEE), tells Mental Floss. "It's got a pretty regular form. It's got its usual complement of star clusters around it. It's got a supermassive black hole in the center, which most galaxies seem to indicate they have. From that point of view, the Milky Way is a pretty run-of-the-mill spiral galaxy."

4. …AND YET IT STANDS OUT AMONG ALL GALAXIES.

On the other hand, he tells Mental Floss, spiral galaxies in general tend to be larger than most other types of galaxies. "If you did a census of all the galaxies in the universe, the Milky Way would seem rather unusual because it is very big, our type being one of the biggest kinds of galaxies that there are in the universe." From a human perspective, the most important thing about the Milky Way is that it definitely managed to produce life. If they exist, the creatures in Andromeda, the galaxy next door (see #9), probably feel the same way about their own.

5. FIGURING OUT ITS STRUCTURE FROM THE INSIDE IS A CHALLENGE.

We have a very close-up view of the phenomena and forces at work in the Milky Way because we live inside of it, but that internal perspective places astronomers at a disadvantage when it comes to determining a galactic pattern. "We have a nice view of the Andromeda galaxy because we can see the whole thing laid out in front of us," Majewski says. "We don't have that opportunity in the Milky Way."

To figure out its structure, astronomers have to think like band members during a football halftime show. Though spectators in the stands can easily see the letters and shapes being made on the field by the marchers, the band can't see the shapes they are making. Rather, they can only work together in some coordinated way, moving to make these patterns and motions on the field. So it is with telescopes and stars.

6. INTERSTELLAR DUST BLOCKS OUR VIEW OF SOME PARTS OF THE GALAXY.

Interstellar dust further stymies astronomers. "That dust blocks our light, our view of the more distant parts of the Milky Way," Majewski says. "There are areas of the galaxy that are relatively obscured from view because they are behind huge columns of dust that we can't see through in the optical wavelengths that our eyes work in." To ameliorate this problem, astronomers sometimes work in longer wavelengths such as radio or infrared, which lessen the effects of the dust.

7. THE MILKY WAY SPINS, BUT ITS SPEED DOESN'T ADD UP …

Astronomers can make pretty reasonable estimates of the mass of the galaxy by the amount of light they can see. They can count the galaxy's stars and calculate how much those stars should weigh. They can account for all the dust in the galaxy and all of the gas. And when they tally the mass of everything they can see, they find that it is far short of what is needed to account for the gravity that causes the Milky Way to spin.

In short, our Sun is about two-thirds of the way from the center of the galaxy, and astronomers know that it goes around the galaxy at about 144 miles per second. "If you calculate it based on the amount of matter interior to the orbit of the Sun, how fast we should be going around, the number you should get is around 150 or 160 kilometers [93–99 miles] per second," Majewski says. "Further out, the stars are rotating even faster than they should if you just account for what we call luminous matter. Clearly there is some other substance in the Milky Way exerting a gravitational effect. We call it dark matter."

8. … AND WE BLAME DARK MATTER FOR THAT.

Dark matter is a big problem in galactic studies. "In the Milky Way, we study it by looking at the orbits of stars and star clusters and satellite galaxies, and then trying to figure out how much mass do we need interior to the orbit of that thing to get it moving at the speed that we can measure," Majewski says. "And so by doing this kind of analysis for objects at different radii across the galaxy, we actually have a fairly good idea of the distribution of the dark matter in the Milky Way—and yet we still have no idea what the dark matter is."

9. THE MILKY WAY IS ON A COLLISION COURSE WITH ANDROMEDA. BUT DON'T PANIC.

Sometime in the next 4 or 5 billion years, the Milky Way and Andromeda galaxies will smash into each other. The two galaxies are about the same size and have about the same number of stars, but there is no cause for alarm. "Even though there are 300 billion stars in our galaxy and a comparable number, or maybe more, in Andromeda, when they collide together, not a single star is expected to hit another star. The space between stars is that vast," Majewski says.

10. WE'RE THROWING EVERYTHING WE HAVE AT STUDYING IT.

There are countless spacecraft and telescopes studying the Milky Way. Most famous is the Hubble Space Telescope, while other space telescopes such as Chandra, Spitzer, and Kepler are also returning data to help astronomers unlock the mysteries of our swirling patch of stars. The next landmark telescope in development is NASA's James Webb Space Telescope. It should finally launch in 2019. Meanwhile, such ambitious projects as APOGEE are working out the structure and evolution of our spiral home by doing "galactic archaeology." APOGEE is a survey of the Milky Way using spectroscopy, measuring the chemical compositions of hundreds of thousands of stars across the galaxy in great detail. The properties of stars around us are fossil evidence of their formation, which, when combined with their ages, helps astronomers understand the timeline and evolution of the galaxy we call home.

http://mentalfloss.com/article/525230/10-astonishing-things-you-should-know-about-milky-way

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