Reactions were mixed. Hippies accustomed to long-form psychedelia like the Grateful Dead were often bewildered by the Arkestra. Sun Ra was featured on the April 19, cover of Rolling Stone magazine, which introduced his inscrutable gaze to millions.
During this tour, Damon Choice, then an art student at San Jose, joined the Arkestra and became its vibraphonist. Starting with concerts in France, Germany, and the United Kingdom in , the Arkestra began to tour internationally.
They played to audiences who had known his music only through records. Sun Ra continued playing in Europe almost to the end of his life. The saxophonist Danny Ray Thompson became a de facto tour and business manager during this era, specializing in what he called "no bullshit C. One half-hour of each class was devoted to a lecture complete with handouts and homework assignments , the other half-hour to an Arkestra performance or Sun Ra keyboard solo. He returned to Egypt in and , when he recorded with Ragab.
It was filmed in Oakland and San Francisco. A show concert by the Arkestra in Cleveland featured an early lineup of Devo as the opening act. In New York City in the fall of , Sun Ra and the Arkestra played as the "house band" at the Squat Theatre on 23rd Street, which was the performance venue of the avant-garde Hungarian theater troupe.
Janos, their manager, transformed the theater into a nightclub while most of the troupe was away that season performing in Europe. Sun Ra was disciplined and drank only club soda at the gigs, but did not impose his strict code on his musicians. They respected his discipline and authority. Soft-spoken and charismatic, Sun Ra turned Squat Theater into a universe of big band "space" jazz backed by a floor show of sexy Jupiterettes.
He directed while playing three synthesizers at the same time. Sun Ra had a stroke in , but kept composing, performing, and leading the Arkestra.
Late in his career, he opened a few concerts for the New York—based rock group Sonic Youth. When too ill to perform and tour, Sun Ra appointed Gilmore to lead the Arkestra.
Gilmore was frail from emphysema ; after his death in , Allen took over leadership of the Arkestra. In late , Sun Ra returned to his birth city of Birmingham to live with his older sister, Mary Jenkins, who along with various Blount cousins became his caretaker.
In January, he was admitted to Princeton Baptist Medical Center, suffering from congestive heart failure, respiratory failure, strokes, circulatory problems, and other serious maladies. Following Sun Ra's death, the Arkestra was led by tenor saxophonist John Gilmore and later performed under the direction of alto saxophonist Marshall Allen.
In the summer of the Arkestra became the first American jazz band to perform in Tuva , in southern Siberia, where they played five sets at the Ustuu-Huree Festival. As of July , the Arkestra continues to tour and perform. In September they played for 7 days in a row at the ZXZW festival, each day emphasizing different aspects of the musical legacy of Sun Ra.
In , they performed at Philadelphia's Institute of Contemporary Art in conjunction with an exhibition that explored the intersection of the Arkestra's performing legacy and the practice of contemporary art.
Sun Ra's piano technique touched on many styles: his youthful fascination with boogie woogie , stride piano and blues , a sometimes refined touch reminiscent of Count Basie or Ahmad Jamal , and angular phrases in the style of Thelonious Monk or brutal, percussive attacks like Cecil Taylor.
Often overlooked is the range of influences from classical music — Sun Ra cited Chopin , Rachmaninoff , Schoenberg and Shostakovich as his favorite composers for the piano. Sun Ra's music can be roughly divided into three phases, but his records and performances were full of surprises and the following categories should be regarded only as approximations.
The first period occurred in the s when Sun Ra's music evolved from big band swing into the outer-space-themed "cosmic jazz" for which he was best known. Music critics and jazz historians say some of his best work was recorded during this period and it is also some of his most accessible music. Sun Ra's music in this era was often tightly arranged and sometimes reminiscent of Duke Ellington 's, Count Basie's, or other important swing music ensembles.
However, there was a strong influence from post-swing styles like bebop , hard bop , and modal jazz , and touches of the exotic and hints of the experimentalism that dominated his later music. Ronnie Boykins , Sun Ra's bassist, has been described as "the pivot around which much of Sun Ra's music revolved for eight years.
After the move to New York, Sun Ra and company plunged headlong into the experimentalism that they had only hinted at in Chicago. The music was often extremely loud and the Arkestra grew to include multiple drummers and percussionists. In recordings of this era, Ra began to use new technologies—such as extensive use of tape delay—to assemble spatial sound pieces that were far removed from earlier compositions such as Saturn.
Recordings and live performances often featured passages for unusual instrumental combinations, and passages of collective playing that incorporated free improvisation. It is often difficult to tell where compositions end and improvisations begin. In this era, Sun Ra began conducting using hand and body gestures.
This system inspired cornetist Butch Morris , who later developed his own more highly refined way to conduct improvisers. Though often associated with avant-garde jazz, Sun Ra did not believe his work could be classified as "free music": "I have to make sure that every note, every nuance, is correct If you want to call it that, spell it p-h-r-e , because ph is a definite article and re is the name of the sun.
So I play phre music — music of the sun. Seeking to broaden his compositional possibilities, Sun Ra insisted all band members double on various percussion instruments — predating world music by drawing on various ethnic musical forms — and most saxophonists became multireedists , adding instruments such as flutes, oboes, or clarinets to their arsenals.
In this era, Sun Ra was among the first of any musicians to make extensive and pioneering use of synthesizers and other various electronic keyboards ; he was given a prototype Minimoog by its inventor, Robert Moog. Ra immediately added the instrument to his repertoire of keyboards, later acquired a second, and featured the Minimoog prominently on many of his recordings of the early s. During their third period, beginning in the s, Sun Ra and the Arkestra settled down into a relatively conventional sound, often incorporating swing standards, although their records and concerts were still highly eclectic and energetic, and typically included at least one lengthy, semi-improvised percussion jam.
Sun Ra was explicitly asserting a continuity with the ignored jazz tradition: "They tried to fool you, now I got to school you, about jazz, about jazz" he chanted in concerts,  framing the inclusion of pieces by Fletcher Henderson and Jelly Roll Morton.
In the s Sun Ra took a liking to the films of Walt Disney. He incorporated smatterings of Disney musical numbers into many of his performances from then on.
In the late s the Arkestra performed a concert at Walt Disney World. The Arkestra's version of " Pink Elephants on Parade " is available on Stay Awake , a tribute album of Disney tunes played by various artists and produced by Hal Willner. A number of Sun Ra's s concerts are available on CD, but none have received a wide release in comparison to his earlier music.
In —80 performances, Sun Ra added a large electronic creation, the Outerspace Visual Communicator, which produced images rather than sounds; this was performed at a keyboard by its inventor, Bill Sebastian. During concerts, the OVC usually was positioned at center stage behind the Arkestra while Sebastian sat on stage with the musicians.
Dozens of musicians—perhaps hundreds—passed through Sun Ra's bands over the years. Some stayed with him for decades, while others played on only a few recordings or performances.
Sun Ra was personally responsible for the vast majority of the constant changes in the Arkestra's lineup. According to contrabassist Jiunie Booth , a member of the Arkestra, Sun Ra did not confront any musician whose performance he was unsatisfied with. Instead, he would simply gather the entire Arkestra minus the offending musician, and skip town—leaving the fired musician stranded. I think I'll have the spicy chicken wings tonight. Or perhaps their galaxy-renowned chicken pie?
Ah, the choices of a hero are never easy. Suddenly, I am yanked back to reality by the whine of my trusty spaceship's automated warning system. Various scenes are filmed in the Shibuya and Shinjuku train stations in Tokyo, Japan. Throughout the band is wearing the bright uniforms of Koji Japanese street construction workers.
Complex wrote that, "We get the feeling Godzilla creator Tomoyuki Tanaka , who passed the year before the 'Intergalactic' single was released, would be proud.
From Wikipedia, the free encyclopedia. Single by Beastie Boys. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. TV Squad. From Betacom UK S. However, invading intergalactic chickens have hatched a plan to make sure this dawn never comes. No opening of presents on Christmas morning, no riding a one-horse sleigh, no Christmas dinner. No, no, no, this won't do.
Looks like you'll have to step up once more and save Christmas Day quite literally. We perform this at our shows, trying to bring live theremin song playing to audiences. Hopefully Joe Meek is up there somewhere in the heavens above dancing to our little homage. The Russian dogs who went into space earlier than Gagarin. They are real heroes of outer space!
Lullabelle - Sputter Seemingly endless streams of information have been traveling into deep space for many years, since the first of our human radio transmissions.
Just like a town dump, the air out there is thick with the smell of old laughter, the soiled remains of cold terror and spent tiny lives expanding infinitely to the horizon. This is the human radiological legacy. We are so mortally afraid of being alone in the universe, but we really don't want some powerful intelligence to travel to our neighborhood and come kick our ass. This is our song, a deep space transmission to excite others out there, to prepare the way before we explore the air and become star children.
In , one night in the heart of Montreal Monsieur Max Maxim Lepage met The Lounge King, and just after some martinis and Tiki drinks they decided that an immediate collaboration should be a "must". The first result: "A Gigantic Spacecraft" in which Monsieur Max shows his orchestral skills combined with the Lounge King's samples and sonic textures. The song is a remix of a lost theme from the movie "Journey to the Center of time" Inzah - Inner Trip 'Inner Trip' is about 'being chilled'.
U can feel it while you meditate for example. Its about leaving body and flying to a place where everything is silent, peaceful. This feeling is created inside U , but its very similar to flying in outer space. Produced by Jason Polland. Another in a line of songs I wrote about zombies and being single. Janae Olson goes to my church. I had a big crush on her and was trying to get the courage to talk to her.
But when I phoned her about singing in this song, I didn't feel like I could ask her out at the same time. She's now dating someone else. All the more appropriate : I feel like Daniel Johnston. Atton Paul - Circling The Imaginary Constellation Of Aldowian Haas This track was made entirely with toy keyboards and recorded onto 4-track cassette with a final master to dat. The track was mixed by Mike Langlie of Twink.
Fred Yarm is a Boston area DJ, phonographer, and sound artist. Karen Langlie is a Boston area cellist and noise artist who has a release on Infinite Sector, and also plays in the 's-inspired ensemble, the Sob Sisters. The Vortexian Waltz represents their first collaboration together. And so I recorded it and built around it with samples which were all taken from various websources, the piece is from around , just like the one that was featured on Jan Turkenburg's 52 weeks , "Walvis in de sterrenzee" Wale in the sea of stars , I did some editing on them before I sent them in, but they're basically as they were.
One of the last things I made was a short piece sort of deconstructing a CD Marco Kalnenek sent me with music of his, Effe den hond oetloate Limburg dialect for "Briefly letting out the dog" , that may eventually appear on a CD with remixes. It was a pretty odd minute of radio, and consisted mostly of my strident narration and a soundtrack cobbled together from old sound effects records. I was astonished not only to hear it played, but that it was also somewhat popular.
This one has fewer canned effects than most, created mostly with the Alesis AirSynth an all-plastic theremin wanna-be My upstairs neighbor ruined multiple takes because she walks like she hates the floor, and she offered me several helpful reprimands during this project when I dared let me music creep up to a somewhat audible level. How do you know they're not? I've never been to the moon, have you? And just who are they?
Their hands resemble pinchers that's all I know. From The Basement to the surface of our solitary natural satellite go thoughts of extraterrestrial life, other realms, cultural lies, lies about cultural lies, what truth really means, and girls in brightly colored panties.
And from this information gathering unit to you and all others goes music to watch stars by. I like to think of stars and outer space and sample things in innerspace.As the last intergalactic chicken invaders flee our Solar System and lingering feathers still smolder in interplanetary space, I ease up on the trigger and wipe the sweat from my brow. My work here is done. Saving the world sure works up an appetite. I'm plotting a course for the nearest Space Burger. I think I'll have the spicy chicken wings.