Curiosity rover spots colorful, sparkling clouds on Mars June 2, 2021 Jeff Bezos to go to space on first crewed flight of Blue Origin rocket June 8, 2021 New NASA photo shows our galaxy’s ‘violent energy’ June 1, 2021 A NASA spacecraft that took a sample from an asteroid 200 million miles away now has a plan to come back home.On May 10, NASA’s OSIRIS-REx spacecraft will leave the near-Earth asteroid Bennu and begin a nearly three-year journey back to Earth, NASA officials announced this week.The spacecraft, formally known as the Origins, Spectral Interpretation, Resource Identification, Security, Regolith Explorer, is carrying a hefty sample it collected from the asteroid’s surface in October, CNN reports. The goal of the mission was to collect 60 grams or two ounces of material — and even though the scientists won’t know for sure until they open it, it appears the collection event exceeded this goal. Regolith is a layer of dust and broken rocks on the surface of asteroids and planets.The sample from the asteroid could shed more light on the formation of the solar system and how elements like water may have been delivered to early Earth by impacts from these rocky leftovers. RELATEDTOPICS Advertisement Advertisement Solar orbiter mission captures sun blasts that could disrupt technology on Earth May 19, 2021 Originally, OSIRIS-REx was scheduled to leave Bennu in March.“Leaving Bennu’s vicinity in May puts us in the ‘sweet spot,’ when the departure maneuver will consume the least amount of the spacecraft’s onboard fuel,” said Michael Moreau, OSIRIS-REx deputy project manager at NASA’s Goddard Space Flight Center in Greenbelt, Maryland, in a statement.“Nevertheless, with over 593 miles per hour (265 meters per second) of velocity change, this will be the largest propulsive maneuver conducted by OSIRIS-REx since the approach to Bennu in October 2018.”The early April flyby wasn’t initially part of the mission, so a May departure allows more time for this last look, CNN confirmed.If all goes according to plan, OSIRIS-REx will fly over the sample site, called Nightingale, from two miles away.When the sample collection head on the spacecraft’s arm descended to the asteroid’s surface in October, it actually sank about 1.6 feet beneath the material sitting on the asteroid. This was called the TAG, or Touch and Go, event.The spacecraft also fired its thrusters to safely back away from the asteroid.Both of these events likely kicked up material on the surface of the asteroid and changed the appearance of the Nightingale site.This flyby will be similar to the observational ones OSIRIS-REx conducted of Bennu for about a year before the mission team decided on the right place to land and collect a sample.The spacecraft will observe a full rotation of Bennu, including its northern and southern hemispheres and equator, and those images can be compared with the images it collected in 2019.The flyby also serves as a good test for the scientific instruments on OSIRIS-REx, which may have been covered in dust during the sample collection. The spacecraft may have a future beyond this mission if everything is working in order since it will simply drop off the sample to Earth, not land back on the planet.Once OSIRIS-REx approaches Earth in 2023, it will jettison the capsule containing the sample, which will shoot through Earth’s atmosphere and parachute down in the Utah desert.A team will be ready to retrieve the sample from an aircraft hangar that will serve as a temporary clean room. The sample will then be whisked away to labs that are currently under construction at Johnson Space Center in Houston.“OSIRIS-REx has already provided incredible science,” said Lori Glaze, NASA’s director of planetary science, in a statement. “We’re really excited the mission is planning one more observation flyby of asteroid Bennu to provide new information about how the asteroid responded to TAG and to render a proper farewell.”The-CNN-Wire™ & © 2021 Cable News Network, Inc., a WarnerMedia Company. All rights reserved. AdvertisementRecommended ArticlesBrie Larson Reportedly Replacing Robert Downey Jr. As The Face Of The MCURead more81 commentsGal Gadot Reportedly Being Recast As Wonder Woman For The FlashRead more29 comments AdvertisementWhen OSIRIS-REx departs Bennu in May, it will begin the 200 million-mile trek back to Earth. It’s expected to deliver the sample to Earth on September 24, 2023.The spacecraft first arrived for a close look at Bennu in 2018 and has been orbiting the asteroid ever since, according to CNN. And it’s going to take one last look at the asteroid before the spacecraft bids farewell to its single companion in space for the last few years.In April, the spacecraft will conduct a final flyby of the asteroid to see how the spacecraft’s contact with Bennu’s surface may have altered the sample collection site. 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Email While hospitals across the nation are merging at the highest rate since the 1990s as the health care landscape undergoes a dramatic shift, Kalispell Regional Healthcare and North Valley Hospital are considering increased collaboration between the valley’s two largest health care providers.In a joint interview on July 20, Velinda Stevens, CEO of Kalispell Regional Healthcare, and Jason Spring, CEO of North Valley Hospital in Whitefish, said the two hospitals are exploring possible opportunities that could support a formal working relationship between the two organizations in the future.A task force with representatives from both hospitals is developing details for a plan that will be presented to both organizations’ board of directors later this year, according to hospital executives.“North Valley is looking at their options and what they want to do for partnerships. Kalispell is clearly who we want our partner to be, whatever that means,” Spring said.Spring said the hospital has been contacted by other organizations about possible acquisitions in the past.Stevens said Kalispell Regional Healthcare is similarly seeing an increased frequency in organizations expressing interest in acquiring the hospital.“We used to get (contacted) four times a year. Now we get it every month,” she said.Last year there were 95 hospital mergers, consolidations or joint ventures and the year before that there were 98. In 2012, there were 105. In 2009, there were 50.The consolidations are a result of the industry’s latest tectonic shift, triggered largely by President Obama’s Affordable Care Act, which has changed the economics for health care providers.“In theory, integrated care is better care. That’s part of why you’re seeing this most recent wave of mergers,” said Bryce Ward, health care director at the Bureau of Business and Economic Research at the University of Montana.Ward said it makes sense for hospitals to work together more frequently, particularly by sharing information through an independent entity to improve efficiency and delivery.But the drawback of a merger is that consumers could end up paying a higher price for care, he added.“The big fear, when you have mergers, is that the lack of competition will allow prices to rise. There is evidence that that can occur,” he said.Stevens insisted that a possible merger is not at the forefront of discussions and said the hospital’s board of directors had not made any decisions about any potential changes.The two hospitals already share physicians, specialists and a variety of services.Spring said that the two hospitals already work together well and that it was worth strengthening that partnership for the benefit of both communities.“We think what’s best for this market is to have it a valleywide system that allows us to move patients in a coordinated fashion through the system instead of having two or three different hospitals doing that,” he said.The two organizations have agreed to follow a set of principles that would guide the task force’s efforts.They are: support a formal working relationship between the two organizations; preserve each hospital’s unique business model, cultural identity, and community philanthropic support base; facilitate innovative collaboration among physicians, clinical, administrative, and technical staff; promote the sharing of “best practices;” and implement efficiencies among the hospitals that benefit the overall health care effectiveness, while promoting financial soundness. Stay Connected with the Daily Roundup. Sign up for our newsletter and get the best of the Beacon delivered every day to your inbox.
The recently-departed Art “Poppa Funk” Neville was a cultural and musical icon who personified New Orleans music for over 50 years. The keyboardist and singer co-founded The Meters and the Neville Brothers, among the most legendary bands to call New Orleans home, and vocalized the classic Carnival anthem “Mardi Gras Mambo”, to name a few. The Meters and the Neville Brothers have long been synonymous with the gloriously funky traditions of the beloved Crescent City. Without question, the centerpiece to all of this wonderful music was none other than Mr. Arthur Neville.According to manager Kent Sorrell, on July 22nd, the patriarch of the Neville family passed away peacefully at his home on Valence Street, the same street where he lived, raised a family, wrote, and recorded music for so many years of his life. After a debilitating back surgery several years ago, Art Neville had been dogged by recurring health issues, yet he insisted on performing as often as he could, with the Neville Brothers and later a reconstituted Funky Meters, and occasionally, the original lineup of The Meters would reunite for extremely special occasions.In July of last year, The Meters received a Grammy Lifetime Achievement Award from the Recording Academy. In December, Neville officially announced his retirement from performing music after over a half-century of entertaining fans around the world. According to NOLA.com, Art Neville spent his precious last few months at home with his ever-doting wife Lorraine, hanging out with family and friends.The lasting impact of Art Neville’s contributions to New Orleans funk music simply cannot be overstated, and his connections to the rock n’roll communities around the world run decades deep, especially with regard to the Grateful Dead, Keith Richards, Mick Jagger, and Paul McCartney, among others. The Neville Brothers, like The Meters before them, had always benefited from the support of celebrity fans and major recording artists alike. That attention sometimes turned into opening slots for The Rolling Stones, and also an opportunity to be the house band for McCartney’s birthday party aboard the riverboat Queen Mary.Most fortuitous to their career, at least on a sustained, national level, were a series of shows where the Neville Brothers were cordially invited to open for the Grateful Dead. The Dead’s huge audience, accustomed to long, sprawling, groove-oriented jams, was perfectly suited to the Neville’s live magic onstage. Better yet, the Dead’s army of fans had a strong word-of-mouth network, a multi-cultural bent, and an appreciation of socially-conscious material. Soon enough, word had spread that The Neville Brothers were quite a special concert experience. Before long, the two contingents were collaborating onstage during the second sets of various sizzlin’ Dead performances, and the addition of The Neville Brothers made for some unforgettable jams throughout the late 80’s.“When the Neville Brothers hooked up first with Bill Graham -and through Bill Graham – with the Grateful Dead, everything changed for the better,” Cyril Neville said in the aftermath of Jerry Garcia’s death in the Summer of 1995. “We connected with that audience. They really understood who we were and what we were doing. And you could feel that coming from the audience. When you look out into the audience now and see all those colors out there, not just the colors on the tie-dyes, but all those different types of people, that’s what the world is supposed to be about,” Cyril Neville said.Nowadays in New Orleans – not just during the myriad tributes over Jazz Fest nor the Voodoo vibes around Halloween – the Grateful Dead community and catalog is omnipresent, and their songs fill the air, their influence alive and well. Rest assured it wasn’t always this way; but it would be the prodigal sons of NOLA funk, the Neville Brothers, who would pave the way for the Grateful Dead’s music and ethos to unequivocally take hold in the Crescent City. In turn, the Dead would connect the royal family of NOLA with a fervent, admiring audience that remains loyal and vibrant until this day.“The Neville Brothers opened for the Dead several times in the 80’s, and they piqued a lot of Deadheads’ curiosity about New Orleans music and culture. The Neville Brothers really were my introduction to this great city.” said Jon Phillips of Silverback Music, a longtime Deadhead who currently manages George Porter Jr. (co-founder of The Meters), and Dumpstaphunk, which features Art Neville’s son Ian Neville and nephew Ivan Neville, as well as Tony Hall and Nick Daniels III, members of the Neville Brothers’ family tree.Clearly, these familial roots run deep, from California’s burnin’ shores of the Bay Area all the way to uptown New Orleans, and beyond. So, we thought that we’d hop in the wayback machine and have a look at the various sit-ins and collaborations between the GD and the Nevilles through the years, and do so in tribute to the memory of the late, great “Poppa Funk” Art Neville.“Midnight Key” 12/31/85 Oakland (opening for Grateful Dead)The relationship between the Neville Brothers and Grateful Dead began on New Years Eve 1985/86 in Oakland, California. The Neville Brothers did not collaborate with the Dead on this occasion, but it was a fine introduction of the already-legendary NOLA institution to the rabid NorCal Dead freaks united. Naturally, the fans were intoxicated by the Neville’s Bayou boogie and timeless Crescent City anthems, and the seed was sewn for just a few weeks later.[Video: Dan G1]2/11/86 Kaiser Auditorium. Oakland, CAFor the most part on all the collaborations between the Dead and the Neville’s, the participants included Art Neville on organs and vocals, Cyril Neville and Aaron Neville on vocals/percussion, Charles Neville on sax, Neville Brothers mainstays Brian Stoltz on guitar and “Mean” Willie Green on the drums. The Neville Brothers would both open and sit-in on back to back GD shows at Henry J. Kaiser Auditorium in February 1986. On February 11th, the third night of a five night run, the NOLA krewe would appear during “Drums”, “Eyes of the World”, “Not Fade Away”, “Hey Bo Diddley”, and “Goin’ Down the Road Feelin’ Bad”.[Video: Kevin Tobin]2/12/86 Kaiser Auditorium. Oakland, CAThe following night, Februrary 12th, the brothers would again appear during “Drums”, then help the GD unveil their first ever take on “Willie & the Hand Jive”, before cruising thru “The Wheel”, and then dusting off “Midnight Hour.” The Wilson Picket number, once a Pigpen-sung anthem of the sun back in the late 60’s, was revved up once again and bolstered by a robust performance from Art “Poppa Funk” Neville, before the teams finished strong with Chuck Berry‘s inescapable “Johnny B. Goode.”“The inaugural Mardi Gras Parade at the Kaiser Convention had it all–feather dancers, gigantic masks on heads, and God knows what else–and culminated with one of the more memorable ‘Iko Iko’ you’re likely to see and or hear,” posits reader Daniel Daniels, who attended these shows and emailed L4LM after the this article was first published.[Video: Kevin Tobin]On summer tour the following year, just at the front end of the “Touch of Grey” madness of the late 1980’s, the Neville Brothers opened a show at Civic Arena in Pittsburgh PA. After a particularly well-received opening frame, they would then join the Grateful Dead for a spirited run through the Carnival anthem “Iko Iko”, including an authentically NOLA-fied section from Art Neville, the “Mardi Gras Mambo” vocalist who’d commandeered GD keyboardist Brent Mydland‘s trusty, growling Hammond B3 organ and made it his own in just a matter of moments. The second set also saw the GD debut of “Day-O” aka “Banana Boat Song”, the brothers cruise through a smokin’ “Man Smart, Woman Smarter”, a soulful reading of Bob Dylan‘s “Knockin’ on Heaven’s Door”. Bob Weir chose to break out The Rascals’ “Good Lovin’”, before another take on “Johnny B. Goode” closed out this rust belt rager in the summer of ’87 with authority.7/6/87 Civic Arena, Pittsburgh, PA.[Video: LaubsterVideo]For New Year’s Eve 1987/88, the GD reunited with their pals the Neville Brothers in the Bay Area once again, setting the Henry J. Kaiser Auditorium ablaze with a charged-up run through familiar songs “Man Smart, Woman Smarter”, “Iko, Iko”, “Day-O”. The Dead and the Neville’s then unveiled the GD’s only-ever rendition of Bobby Freeman‘s “Do You Wanna Dance” before another “Knockin’”. Again it would be Art Neville who would steal the show at times, with his lyrical gusto and B3 mojo, and a smitten Mydland was more than happy to share the spotlight with an R&B/funk/soul icon of the Hammond B3 and the great city of New Orleans. The elixir of Mydland’s greasy Michael McDonald vox and lyrical keys juxtaposed with Art Neville’s own inimitable uptown swagger served to inspire Garcia in a visible fashion on each collaboration.The 1987 New Year’s Eve show in Oakland was broadcast live on pay-per-view, and later immortalized on the Ticket to New Years VHS release.New Years Eve 1987/88 in Oakland, CA[Video: Dan G1]In October of 1988, In the Dark fever was in full swing, and the Dead made one of their extremely rare-appearances in New Orleans since they were “busted on Bourbon Street” in January 1970. The GD were playing the Keifer Lakefront Arena (later rechristened UNO Lakefront Arena), while the late British pop star George Michael was booked at the enormous Superdome, with female-rockers The Bangles as direct support. Why am I bringing this up? Because the Bangles and GD worlds had collided outside a NOLA hotel earlier that day, and at the tail end of the NOLA GD show on 10/18/88, not only do pals the Neville Brothers show up through the back door of the arena just in time for “Drums”, but before you know it, all four women from The Bangles, including Bob Weir’s new friend Susanna Hoffs, were singing backup vocals with the Dead and Nevilles for a pair of tunes at the end of this peculiar gig. Though it was clear The Bangles were not exactly familiar with “Iko Iko”, the “Manic Monday” girls stepped up with some nice vocal harmonies on the Dylan chestnut “Knockin’ On Heaven’s Door”. Rumor has it, members of all three groups were spotted walking like Egyptians throughout the French Quarter, deep into the N’awlinz night.October 18th, 1988 Keifer Lakefront Arena, New Orleans, LA[Video: Kevin Tobin]The final jams onstage between these two storied franchises took place on a sweltering evening, July 10th, 1989 at Giants Stadium in East Rutherford, NJ just outside New York City. Beginning with the customary collab on “Drums” and “Iko Iko”, Jerry Garcia directed the boys into Bob Dylan’s “All Along the Watchtower” before steering the swollen collective into a stirring rendition of “Morning Dew.” Garcia’s “Dew” solo is nothing short of a scorcher, and in the video you can see the late Art Neville and the late Brent Mydland grinning from ear to ear as the Fat Man really gets the stadium a-rockin’. He belts out the second “doesn’t matter anyway” and takes off on another intergalactic journey, as the Neville’s guitarist Brian Stoltz serves to stoke Garcia’s flame in a special kind of way, whilst Art Neville offers some thunderous B3 action beneath it all. Rounding third with a spirited gallop, both bands race through the Dead’s own “Sugar Magnolia” before closing the book between the two royal families, appropriately enough, with another scintillating version of staple number “Knockin’ on Heaven’s Door.”[Video: Voodoonola2]In addition to the various aforementioned Neville/Dead sit-ins throughout the late 1980’s, Jerry Garcia also contributed guitar to “You’re the One”, found on The Neville Brothers 1987 LP Uptown.[Audio: The Neville Brothers – Topic]words: B.Getz / Upful LIFE