#flying saucer rock and roll

[chronivore]

2014

[noco-alienau]

Stay Back!

writing below the cut!

The house shook as the impact of the fallen object outside rolled throughout the ground. Items of all kinds were knocked off their surfaces, a few of which shattering as they made contact with the floor.

The animals nearby reacted accordingly, a hairless cat sprinting for the only bedroom while a golden labrador began to bark in the direction of the sudden noise. Cody was the first to leave the dining table, kicking aside the mess that had been made and watching nervously as the source of the ruckus had still yet to cease.

It was a ship of some kind, three mechanical limbs protruding from a saucer-like shape with blaring green lights. Whoever the pilot was, they had very little knowledge over how the machine worked. It rocked awkwardly, stumbling over and finally falling still in the flattened grass.

"Noah, stay inside."

"Cody, what's going on?"

"Just get Daisy and stay inside."

Cody grabbed whatever blunt object he could, a baseball bat, racing towards the exit. This wasn't real. It couldn't be happening. Not now.

He hesitated as he approached the front door, a wave of realization washing over him like a cold rain. This - all of this - should have been forgotten years ago. Why had they returned? He had no significance to them, no importance. Why now, years later when he had finally settled down, did his past catch up to him?

Noah had the dogs collar in his grasp, but he hadn't left his spot. The two had seen the same thing. He wasn't sure what to think of. He didn't get the chance to ask again, his partner leaving for the outside. He could only watch.

A hatch on the side of the ship swung open, a mixture of steam and smoke escaping into the air as it did. An odd scent of dust and dirt spilled alongside, as if the area couldn't get any worse. Two passengers stumbled out and over one another, seemingly fighting.

"Is it really that fucking hard to land?" One hissed. "We've been in training for ages! This is why you pay attention, asshole!"

"This was all last second," the other would argue. "If you know so much about ships, why didn't you fly?"

Their bickering seemed to have no end. Cody inched closer to get a better view of who exactly he was to deal with.

They were relatively tall, both donning similar clothing and features. Their skin was a bright shade of blue, they shared a somewhat similar antenna and tail shape. Both pieces of clothing had a set of stripes to specify their color ranking. It was all too recognizable to the brunette before them.

Their argument came to a quick pause once their eyes settled on the human nearby. Cody grew tense as they approached, lifting his weapon and intending to bash their skulls in. The taller of the two aliens caught it in their claws before any contact was made.

"Cody 6827," he spoke, ripping the bat away. "We have been ordered by the king to return you to your home planet. You have information that he needs."

The boy was stunned. "How did you find me?" He blurted out.

"You had been tagged by your caregivers before you had been sent here. We can explain further once you come aboard our ship. You will be given a temporary room within the palace, so long as you comply."

"If you don't," the shorter alien inched closer, "we aren't arriving back empty handed. Best decide if you want to go there in one piece."

"5728, there is no need for threats."

"Cody?" A voice called. "What is all of this?"

Noah kept his distance from the rest. He was unarmed; something that made his partner more anxious than anything.

"Noah, stay back-"

"Step away, newcomer," one of the aliens warned. "He isn't what you believe for him to be."

"Cody, what are you?"

Noah's tone was unreadable. Was it disgust? Fear? He couldn't tell. There was no point in hiding any longer. No facade he put on could hide the world around him.

Cody's form shifted unnaturally. Two long, green antennas emerged from his hair with a matching tail following suit. Green splotches grew on his skin, although it seemed difficult to get far past this stage. The transformation was visibly uncomfortable. He never intended to reveal this again, and having hidden for so long left certain aspects of his appearance irreparable.

Words couldn't save him now. Cody waited for a response. He was met with nothing but a long gaze.

"Noah, I.. I'm sorry, I should have told you sooner-"

"You should have."

"But you would have thought I was crazy! I didn't.. I didn't want to lose you."

"Cody," the brunette gave an agitated sigh, "that summer camp we met at taught me that even the weirdest shit is possible. This wasn't exactly on my list, but.. guess I need to get back to writing it."

Despite everything, Noah came closer in reassurance of his loyalty to his lover. The green alien's ears perked up. He couldn't have asked for a better partner.

"Besides, there were.. signs."

"Signs?"

"Yeah.. remember that time I caught you breaking into the pantry because I tried to cut off your candy-fix for the night?"

"Yeah. Child locks don't work anymore."

"I learned. Anyway, when I found you, your eyes looked off. Later realized they were glowing. Thought it was the flashlight, but no, you're just.. spacey."

It was nice to see Cody's tooth-gap smile, especially now.

"Are you two done?" The shorter alien called out. "It's either you get in or we'll make you!"

"The king isn't one to wait," the other warned.

"He's only going if I can go, too," Noah stated.

There wasn't a lot of time left to waste. No, neither of the earthlings wanted to leave, but it was all or nothing. It seemed the intruders had a similar mindset.

"Get in," they ordered.

Hesitant but less worried, the couple slowly made their way inside the unidentifiable ship. The many blinking lights, screens, and buttons were a tad bit overwhelming, but they had no choice than to adapt.

"Everything will be fine," Cody told himself. He only hoped it wouldn't be a lie.

Noah and Cody are open for questions!

♡writing done by @plushii-gutz !♡🧸

[roxygen22]

Boats and Babies

"My Little Cocoa Bean" Series

Summary: The Wonka family takes a trip to the beach.

"You...what?!" you asked incredulously.

"I bought a boat!" Willy repeated gleefully. You stood in the kitchen frozen, mouth agape trying to process the information. He let you stand there a few awkward moments before he finally added with a snicker, "Just for the weekend."

"Don't you DO that to me, Willy Wonka!" You bopped him on the arm with the wooden spoon in your hand with your exaggeration of "do." He laughed and feigned hurt from your retaliation. "So you RENTED a boat. And what are you going to do with a boat, pray tell?"

"WE are going on an outing this weekend. Just the three of us. As much as I love the world of our own that we have carved out on land, I do sometimes miss the sea," his voice trailed off.

You loved the idea of getting out of town for a bit, enough to forgive his earlier prank. You and Willy hadn't taken a trip since Ben was born. The boy was finally big enough to handle some adventure and had been obsessed with boats as of late.

You spent the rest of the week gathering up what you would need for some fun in the sun with a toddler in tow. Willy mapped out a route to a beach far enough away for a fun boat ride but close enough not to require an overnight stay.

The day finally came to pack up the boat and launch. Ben clapped as the family walked to the docks. One of his favorite things to do lately was to look at the boats. You and Willy had kept your plans quiet from the boy.

"I have a surprise for you, Bean," Willy said as he knelt down to the boy's level. "How would you like to actually go for a ride on a boat?"

Ben looked up at you both with eyes as big as saucers. "Really?!" he shouted.

"Really!" Willy responded with equal excitement. You all walked a little further down the dock. "Here she is." He stepped down into the boat, then turned and gestured for Ben to come closer. Suddenly nervous, the boy attached himself to your leg.

Willy patiently held out his arms. "It's alright, Bean. I've got you." Timidly, Ben stepped closer and reached out to his father, who deftly scooped him up and set him down in the boat. Ben clung to Willy's shirt as the boat rocked. "Don't worry, son. You'll get your sea legs eventually. Now, let's get this lifejacket on you so I can help Mamma get our things into the boat."

Once he got the boy settled, Willy grabbed and stowed the bags, then offered you his hand. It had been a while since your last boat ride, so you felt a little shaky, too. You lost your balance slightly and fell back into Willy, who caught you by the elbows. "Well, hello there." He grinned down at you and waggled his eyebrows. More than six years together, and he was still a flirt.

As expected from a lifetime on the water, Willy was a natural at prepping and launching the boat. Soon, you were out on open water. Ben relaxed and took in the sights, though he kept a tight grip on your hand. You enjoyed the feeling of the wind in your hair, and when you closed your eyes, you felt like you were flying. You looked back at Willy with a huge smile and found him staring back at you with a content, dreamy smirk.

After an hour or so on the water, the beach appeared on the horizon. As you got closer, Willy jumped over the side to pull the boat to shore and help you both out. Restless from sitting, Ben immediately started running around, picking up shells. Willy cautioned him to stay out of the water until everything was unpacked.

You and Willy got everything set up quickly, complete with blanket for lounging and umbrella for shade. Once set, Willy ran after Ben, grabbed him from behind, and spun him around. The boy shrieked with glee as you all made your way to the water's edge.

Nothing prepared your heart for the sight of Willy wading in the shallows, pants rolled up and holding Ben's chubby little hand. They pointed and chattered about the little creatures in the tide pools as Willy recounted stories of the wide variety of animals he had seen on his voyages. Ben ran back and forth between Willy and you, bringing you shells and pebbles from his scavenging. When they moved on to build sand castles, you stepped away to prepare lunch.

"Alright, my boys. Time to eat!" you called. Willy grabbed up Ben by the waist and hoisted him onto his shoulders.

"Hi, Mamma," he waved from the towering height of his papa's frame as they got to the picnic blanket where you sat. Willy flipped the boy over before gently setting him down beside you.

"Hi, baby. Ready to eat?"

"Yeah! My tummy growly," he said before growling like a bear.

"Mine, too," Willy agreed, growling back.

The boys eagerly devoured the sandwiches you prepared. Exhausted and full, Ben quickly succumbed to the relaxing sounds of the waves hitting the shore and napped in the shade of the umbrella. Willy laid his head in your lap, and you couldn't help but card your fingers through his chocolate curls.

He looked up at you and smiled. "I love you. I love this," looking over at Ben. "I want more."

"Me, too."

Willy quickly propped himself up on an elbow to stare at you. "Really?!"

"You say that a lot, don't you, Mr. Wonka?"* You winked. "Really. I had already been giving it some thought, but seeing you today with Ben convinced me. For someone who was worried he wouldn't know what to do, you're awfully good at being a father."

"And you are the best mother," he replied as he lifted his hand to your cheek. You leaned into his touch and closed your eyes with a soft sigh.

"I always wanted a big family," he reminisced as he laid his head back down. "But I never thought it would be in the cards for me. Sometimes, when Mamma had to work and it was too quiet with just me on the boat, I wondered what it would be like to have siblings. That dream died with her until I found Noodle. I don't want Bean to ever be lonely like that."

A tear slipped from your cheek to his as you looked down into his greenish blue eyes. He had such a big heart and so much love to share.

Before you could respond, Ben started to stir, and Willy slipped back into dad mode. He rolled off your lap onto his belly to be level with the boy, chin resting on his forearms. Ben blinked the sleep from his eyes and smiled. "Hi, Papa."

"Hi, Bean. Ready for some more adventure? I think it's high time that I teach you how to swim." You watched the two run back to the water's edge, in awe of Willy's near boundless energy. You knew he'd have no trouble keeping up with another little one. Or two.

<><><>

MASTERLIST

*This is an inside joke from when the reader and Willy first met. Read Boxes for more context.

[gawsby]

So you've got to live up to your name Or else I'll put you to shame

Listen!

If you say you a selector You a fe have good selection And I say if you say you a de special Man I say I want to know your potential

You a say you a madness You a say you a de best But when I put you 'pon you feet A-some a-some a say you can't play de beat

And I hear you say a Clash a you ruler Say a Clash sound cooler Say a Clash sound sweeter And now-a-days man a measure mile in a metre

Live up to your name Or else you die in shame And a so me say fe live up to your name A so me tell you say you die in shame

Some a dem a bodysnatcher Some a dem a barracuda But who a know fe me Jah Jah Fe me Jah a me creator

Flying saucers, rock-and-roll Natty Dread a fe be in control It's all in the whirlwind I say you've gone with the blockhead

And I say me say dat some a dem a Sex Pistol Nipple erectors A so me tell you set dem still up on a corner An a who on a farm And I'll tell you 'bout the X-generation Me know dem a victimed 'Cause dem no know fe me sweet Jah Jah

Clash a you ruler Say a Clash sound cooler And I tell you say a Clash sound sweeter And now-a-days man measure mile in a metre A none a dem deh measure gallon in a litre And I tell you say me know dem a cheat ya

'Cause when you living inna fame You got to live up to your name Or else a suffer and you die inna shame And I tell you say it's all in the game

Some a say dem a selector Dem a fe have good selection Or else deh moving in the wrong direction And deh no know dis a reggae vibration And a so me say a Clash a you ruler And dis ya one a say it a musically cooler

Me say fe live up to your name Or else you suffer and you die inna shame 'Cause when you living inna fame A so me tell you say it's all in the game

And so me talkin' about Specials and Madness beats, Big body snatcher, selector

Flying saucers, rock'n'roll See you gone in the whirlwind And I tell you say, a you a de blockhead And some will tell you dat you dreader than dread

And a-some a say a Clash a you ruler See a Clash sound cooler Clash sound sweeter Man a measure mile in a metre

When you living inna fame You got to live up to your name Or else you suffer and you die inna shame It's all in the game

This is the game of life We no want no strife Game of life We no want no strife, no no

Living In Fame

from Sandinista! (1980)

vocal by Mikey Dread (1954-2008)

[mickimagnum]

Day 4 | 50s Guy | ft. Brant Hecking

Monster Mash: Halloween Townie Makeover Challenge

Well, the news of the saucer been a-flyin' around I'm the only one to seen it on the ground First thing I seen when I saw it land Cats jumped out, and they formed a band Flyin' saucer rock 'n' roll I couldn't understand a thing they said But that crazy beat just-a stopped me dead

Listen to more songs from the Post-Ironic Millennial Halloween Playlist

(Credits + Links After Cut)

Hair: Cement, SFS - see original post Jacket: Wistful Castle, Patreon (free) Accessory Top: Solistair, Patreon (free) Pants: Windenbro, SFS - see original post Shoes: EA Base Game

Thank you to these amazing CC creators:

@cmescapade | @wistfulpoltergeist | @solistair | @windenbro

[gravalicious]

“I guess I should back up a little bit because in the latter part of the ’40s, as I got to be twenty-one, I became very interested in politics. I joined the Communist Party, for one thing, and I ran for political office—I ran for the state legislature on the Progressive Party ticket in 1948—I lost—and I ran for Congress as a Republican in 1952, at which time I also lost. I wasn’t a Republican, but it was so difficult to get on the ballot as an independent that we decided, my young crew and I, that we would try and get on the ballot on the Republican Party ticket just so we could raise issues ’cause we wanted to fight the Democrats. We were really young zealots, and that went on till I got booted out of the Communist party when I was thirty years old, about 1956. It was one of those situations where, “you can’t fire me, I quit!” (laughs) We fell out on the race question. I was just too black to be red! (laughs) They called me a “Negro nationalist,” which meant that I was very interested in the problems that befell black people, and I saw things from that perspective, which was kinda natural, ’cause that’s where I was. During that period, around 1955, in order to keep me from running for office anymore, I got drafted. I was twenty-eight years old by this time, but they put me in the Army and then kicked me out for being a Communist. McCarthy was doin’ his number—I was scared to death; on the way down to Arkansas to be in the Army, I just knew I was gonna go to the stockade! However, I didn’t . . . the Supreme Court reversed it, ’cause it was totally unethical for them to force me in and then kick me out, ’cause I didn’t wanna come in the first place! And I’d taken the Fifth Amendment and all. But anyway, all of that stuff sorta faded as I was in the Army; I got to singin’ in the service clubs with a fella from Chicago named Al Coletta. He and I called ourselves the Two-Tones.”

Oscar Brown Jr.

Jake Austen - Flying Saucers Rock ’n’ Roll: conversations with Unjustly Obscure Rock ’n’ Soul Eccentrics (2011)

[jasmine604]

W2. 10 NZ Creatives

Len Lye (5 July 1901 – 15 May 1980)

Len Lye or ‘Leonard Charles Huia Lye’ was known for his experimental films and kinetic structure. A lot of his films are being held as articles in NZ archives aswell as museums abroad likee Museum of Modern Art in NYC. When he was a student he thought that motion could be part of the language of art hence the interest in film and structures. 

Left to right: Picture of Len Lye. Len Lye Blade 1998 - Collection of John and Lynda Matthews, New Plymouth. Len Lye Love Springs Eternal exhibition - Starkwhite

-

2. Billy Apple (31 December 1935 - 6 September 2021)

Billy Apple, born Barrie Bates left NZ to study graphic design in Royal College of Art in London. He eventually moved to New York and continued creating pop related painting and objects, overtime he went from more tangible objects to more conceptual and process orientated practises. He was noted as someone that had frequent exhibtions and has a clear ‘brand’ within his own work. 

Left to right:Picture of Billy Apple with one of his known creations. Relation of Aesthetic Choice to Life Activity (Function) of the Subject, 1962 by Billy Apple, Tate. ‘Paid’ by Billyapple, FoenanderGallery.

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3. Ronnie Van Hout (22 January 1962 - )

Ronnie Van Hout works with a range of media such as video, painting, sculpture, photography, and embroidery. He was born in Christchurch and studied Fine Arts at the University of Canterbury, majoring in Film. He seems to be most known for his work with Pingroup and his sculpture. 

Left to right: Picture of Ronnie Van Hout. Pin Group by Ronnie Van Hout, 1983. Hellzapoppin'! Flying Saucer poster by Ronnie Van Hout. 

-

4. Lesley Maclean Active between (1985 - 1986)

Lesley MacLean or ‘Black Spot’ was a Christchurch poster designer, most known for her work with the Flying Nun Bands in both a poster making sense and performing on the stage. Now she has left the world of design behind and has become a trained practitioner of Japanese tea making. 

Left to right: Picture of Lesley Maclean, Sneaky Feelings. "Husband house". A Flying Nun record. [1985] by Lesley Maclean, 'The Real Sounds of New Zealand' Exhibition by Lesley Maclean.

-

5. Chris Knox (2 September 1952 - )

Chris Knox is a rock and roll musician, Cartoonist, and movie reviewer who rose to fame during the punk rock era. He was in two bands, The Enemy and Toy Love. Toy Love eventually disbanded and he and some members made ’Tall Dwarfs’. He used to often draw cartoons and designs for his album artwork and for magazine covers and cartoon strips. 

Left to right: Picture of Chris Knox supporting Blondie, Seisure Album Cover 1989, Chris Knox. Forced Exposure Magazine Cover, 1993, Chris Knox.

-

6. Greer Twiss  (23 June 1937 -)

Greer Twiss is known as the ‘godfather’ of contemporary sculpture in NZ. He has been sculpting and exhibiting his work for more than 50 years. He attended the Elam School of Fine arts. He has worked with a number of materials but is most known for his works in Bronze. He retired in 1998. 

Left to right: Picture of Twiss. Bathers, 1970, Greer Twiss. London Series, Greer Twiss.

-

7. Jim Allen (22 July 1922 – 9 June 2023)

William Robert Allen known as ‘Jim Allen’ served in WW2 in 1945, after which he enrolled in art studies in Italy. After coming back to NZ, he continued to study fine arts here at Canterbury University, and following that he did a series of jobs and worked alongside many organizations and projects such as the Northern Maori Experimental Project. He has had a significant influence on the development of ‘post-object’ practices in NZ.

Left to right: Picture of Jim Allen. Groundswell: Avant-garde Auckland 1971–1979, Jim Allen. Saboteur, 2009, Jim Allen.

-

8. Kris Sowersby (1981 - )

Kris Sowerby a majorly self-taught graphic designer specialises in typography and over the years has garnered national and international acclaim for his typographic work as part of the Klim Type foundry which he founded. He has worked with a number of clients to come up with unique letters for branding purposes and has also released a couple of his collections and books such as ‘Art of Letters’.

Left to right: Photo of Sowersby, 2008 composition, Kris Sowersby. Page from book ‘Art of Letters’ by Kris Sowersby

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9. Maureen lander (1942 - )

Lander is a Weaver, Multimedia installation artists, and academic. Lander is a well-respected and significant Māori artist who since 1986 has exhibited, photographed, written and taught Māori art.

Left to right: Picture of Lander, Maureen Lander (2018), Embodied Knowledge. Atapō, (2020) dyed muka, work in progress. 

-

10. Evangeline Davis (unknown, current)

Davis is a young photographer who documents women in the way she wants as opposed to what she grew up seeing in fashion magazines. She grew up seeing thin white girls, and wanted to document women in a 'real way', so she could see people like herself in photography. She focuses on women and their lives in NZ.

 Left to right: Photos from Davis' book 'Touchy', 2016, Angeline Davis

[doyourememberrocknrollradio]

Robert Gordon with Link Wray - Flying saucers Rock & Roll

[uneasylisteningradio]

The Kids Just Don’t Understand January 9, 2023

Aunt Sally

stream on mixcloud

Caverna - Trato Amado Smirk - Living in Hell Vox Dei - Terroriste Abi Ooze - Cry Alone Saucers - Quiet Boy Book of Love - Die Matrosen HEAVY METAL - Room 17 Stranger Cole - We Are Rolling (Under the Tree of Life)

DJ speaks over Gianni Marchetti - Two Lovers (Theme from the Wild Eye)

The Reds - Whatcha' Doin' to Me AUNT SALLY - Subete Urimono Cherry Cheeks - ACAB Passion Killers - Universal Soldier Buffy Sainte-Marie - He's a Keeper of the Fire SLOI - SLOI

Pentangle - Mirage Les Sinners - La 3ème fuite de Mohamed 2 Square Y? - Morgan Drowning ISS - Cellmate The System - Born to Lose

Marlowe - Hold the Crown Head Cheese - Teenage Idol Vulva - Kill the Baby Swab - Nothing to Lose The Cars - Moving In Stereo William and Versey Smith - Everybody Help the Boys Come Home Fugazi - Styrofoam

Roy Bailey - We Will Fight, We Will Win Taken By Trees - Say You Don’t Mind Chelsea - Last Drink The Meatmen - War of the Superbikes The Middle Class - Out of Vogue Robert Wyatt - Shipbuilding

Amos & Sara - Go Home Soldier Don Covay - Standing In the Grits Line Dwight Twilley Band - Rock and Roll 47

The Rabbits - Winter Song The Tubs - Wretched Lie The Lazy Cowgirls - Drugs The Flying Machine - Waiting on the Shores of Nowhere Primer Regimen - Culpables Los Yorks - Abrazame

Efialtis - Να'σαι (Na'sai) Bob Wills - Right or Wrong Spacemen 3 - Little Doll Heavy Mother - Life's Tuff Automatic - Lucy

Nouveaux - Paradise Chumbawamba - The Bad Squire Adolescents - Welcome to Reality Alien Nosejob - Coastal Living 2

David Bowie Always - Crashing in the Same Car

[cheese-in-space]

3 + 9 + 23 ^_^

3: What is the last song you listened to?

“Rock and Roll” by Led Zeppelin

9: When is your birthday?

April 15th!

23: Do you believe in aliens?

Yes, but not in the oooh flying saucer way. There’s definitely life out there but much too far away

[weaversweek]

"The flying saucer" - Buchanan & Goodman

1956 Written by Bill Buchanan and Dickie Goodman

We interrupt this post to bring you a special bulletin. The reports of Let's Do It, the 50 greatest singles from 1954-76, are real.

On the surface, "The flying saucer" is War of the Worlds set to music, and played much less seriously than Orson Welles. A radio announcer (played by Buchanan, and based on real-life dj Alan Freed) has his show interrupted by on-the-spot reporter John Cameron-Cameron (played by Goodman, and based on real-life newshound John Cameron Swayze). What's Cameron-Cameron blithering on about? The aliens are coming! They're here to take over the world seduce our women groove to some rock 'n' roll.

To illustrate the points his reporter makes, the announcer breaks in with snippets of pop records. "The flying saucers are real!" Then we hear "Too real when I feel what my heart can't conceal" from 'The great pretender'. And so on, through five minutes and both sides of a 78.

Although it comes across as a childish novelty, "The flying saucer" was very much in the mode of art music of the time - musique concrete. Composers like Stockhausen and Boulez and Tablet were taking short taped extracts of other works, and interpolating them into other compositions. In short, they'd invented "sampling", and Buchanan and Goodman took this technique into the pop charts.

Record companies were hacked off. How dare these comedians take their records and make them into something new. Aren't there some sorts of laws against this? "No", said a judge in a landmark trial, he said that "The flying saucer" was a new work and could not be stopped. Sampling had arrived, sampling was legal, and sampling would become a regular feature as soon as the technology allows.

[unboundtravels]

𝐒𝐭𝐚𝐫𝐭𝐞𝐫 𝐂𝐚𝐥𝐥 | 𝐴𝑐𝑐𝑒𝑝𝑡𝑖𝑛𝑔

Dimension hopping comes with a steep price, and it seems the crew and their beloved fixer-upper have just found out how heavy that price can be, and how in some corners of eternity... there be monsters.

"HUMANOID VESSEL— YOU HAVE ENTERED DALEK SPACE. YOU WILL BE DESTROYED."

The Time War. It is a near-invisible conflict to anyone not experienced in time travel or universe hopping. A conflict being fought off the tracks of reality. While the lesser-aware beings, like the humanoids of 21st-century Earth and those of their same standing, simply continue life in blissful ignorance— a battle is waged between the lines of reality. Those unfortunate to slip between the cracks are exposed to the intense flame and heat of a deadly and devastating conflict. If only it were just pure, unfettered conflict— but a war between time-traveling powers is seldom simple. The War's devastating effects are caused by the temporal powers that be. Once exposed to the war, you'll never escape the effects it leaves upon the body and mind. Reality warped every nanosecond, battles rewound and repeated, undone and remade. The Fabric of the universe shifted so terribly that sooner or later... the war will bleed into all of reality.

Those who travel more than just one universe may or may not be aware of who's fighting. While one side, The Timelords, wage war from their capital of Gallifrey— defending their seat as the highest authority of all that is when it comes to time and space, they wage a conflict with The Daleks. A race of putrid, mutated creatures of hate— driven by genocidal instinct and molded by pure hatred. The Daleks light the flames of war whilst the timelords fan it. Unmerciful, and disgusted by all that isn't it's own ilk, The Daleks swarm all corners of reality waging their war against the timelords with such intensity that the only thing anyone can do when cornered by the Daleks is to simply run. 

Energy batteries fire wildly around Cassius' ship. Each blast from the Dalek saucer, even if it misses, rocks the ship like it's a car rolling down a hill. Explosions of bright green light flash into bright yellows and whites in front of the viewscreen of the ship. Even at maximum speed, The Dalek saucer is always right on the tail of the ship. The computers blare critical warning signs and alarms of increasing intensity. The ships automatically began transmitting a distress signal per an emergency protocol locked away deep within the system's subroutines. Though in a universe at war, it seems unlikely that answer.

However, just at the darkest hour... it seems as if miracles do happen.

The door to the ship's control room and central cockpit slide open. A figure slides a cylindrical device into his coat after it aids him in opening the door. It's unclear how he got onboard, but in the haze of the chaos there's not enough time to question it. He immediately rushes up toward the main cockpit, pointing toward a distant nebula— spiraling with blue, green, and purple colors. It's like a complex fog, constantly sparkling and twinkling. The Figure, an English male who sounds like he's had his fair share of sleepless nights— speaks with a wild and hopeful charisma despite all that inherently weighs him down.

"There! That nebula! Fly into it!" He shouts, "You don't have much time— but if we're lucky, we might be able to evade The Daleks! Plot a course!" The figure explains, moving toward a control panel. His fingers fly across the controls but he explains everything he's doing in key detail. "A very lovely ship you have here! A bit of a fixer-upper, which I admire! But a lovely ship nonetheless—" He gets back on topic quickly, "I'm making a few modifications to the power distribution system, I'm sorry for not asking—" He continues to speak quickly, but suddenly the ship rockets forward with such intensity that it begins to escape the Dalek saucer. For the most part, the pursuing saucer still attempts to maintain chase. 

"The Daleks will try and bombard you with all the firepower they have, but they're not the best shots! Make evasive maneuvers on your way to the nebula, but don't try and fight back— you won't win! All we can hope to do is escape from them!"

@tragedicn

[houseofcatwic]

Billy Lee Riley & The Little Green Men - Flying Saucers Rock 'n' Roll (1...

[dutchx11]

The Black Sparrows / Tiskie Tapes

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Background:

From South London, Dan Hunt & Tom (Hubby-G) Hubbard formed The Black Sparrows prior to 2014. They had worked together in a previous band, Cheese on Toast Mystery.  According to Last.fm.com, “The Black Sparrows are a band formed by two Bukowski obsessed young men who wanted an excuse to drink and shout in public.”  The boys of BS (Dan Hunt (vocals, guitar), Tom (Hubby-G) Hubbard (guitar), Rob (bass), & Kai (drums)) revisit the essence of the ‘ye ole pub guitar band.’  Love that accent! Having that British charm, this band appeals to the mods (60’s) & punks (70’s) - (http://www.mrteethreviews.com/the-black-sparrows-tiskie-tapes/).  “They are self-proclaimed ‘punk ‘n’ roll’ lads who distill the spirits of The Libertines and Suede  (http://stereoembersmagazine.com/jen-dans-top-20-songs-of-2015/).

Album Overview:

Their debut album (and as of this writing, only) was released in 2015 on Cariad Records (https://www.facebook.com/CariadRecords/).  By the way, the title references a particular brand of Polish lager.

Right from the first riff, it sounds very British, even though a bit reminiscent of the Pixies (which is concerning).  Regardless of the after punk feel, there is a distinct wailing rock guitar.  With catchy, short tunes (longest song, merely 3:41) and rumbling bass, you beep-bop along with a little harder jam.  How could you not love an album with songs about lost loves, pubs and cheap drugs? 

Tracks of note: 

Pretty Songs – And we’re off!!  With a quick straight ahead lunge, we’re pulled by the train with abrupt jarring stops in the action.  It makes you want to jump from the get go, “No, I’m not sending you flowers afterwards.” Punk-like screeching (channeling Johnny Rotten?) accompanies the rocking guitars. Please, I don’t want no girlfriend! Remember: “you come up to me.” This noise let’s me go rock n roll, because of the catchy hook from the fill section.

Dirty Lips – Please don’t say, “Blister In The Sun!” a-la Violent Femmes, to the hinting guitar.  But, the bass rhythm takes the song where it needs to go.  I can feel the grime between my toes stuffed inside my docs.

Libido sings this one & doesn’t give a damn who gets hurt!  I’m feeling the splash of sweat and smut.  And, don’t forget that smell of musky satisfaction.  I will still see all of you after the show!  You can’t help but feel the beat of my…pulse, “I wanna suck your dirty lips!”  Nice break & “ho, ho..ho” builds the tension (like the one I’m feeling). 

Stay Golden – Remember “ye good olde days of yore.”  I don’t wanna grow up – I just wanna keep doing the same now & forever. Playful guitar jamming gives us a lighter hearted tone.  I wouldn’t change a thing – even the fuck ups because they make the best stories/memories!  Everybody jump and have a good time, because it’s a great night out with the boys.  This is a punk version of “The Boys Are Back In Town,” where you don’t realize the significance of the moment until you’re looking back.

Queens Head – I just want to know where this place is where pints flow without care of tomorrow. My mates and I begin the night of hunting here to whet our whistles.  Think of a Hardy’s malt house and the communal cup of some fermented bevy (Far From The Madding Crowd) - smooth and room temp suds and all.  For me, it would have been something like The Flying Saucer.

Hancock – This should have been on a John Hughes flick, like Breakfast Club when they are dancing after taking a hit.  Or, maybe, on any montage scene of kids doing mischief and causing a ruckus (Can you describe "the Ruckus?").I can’t help but feel that this song is almost a reminiscing type of tune.

Best time to listen: if you can remember to put this CD on while you and your crew are doing your pub-crawl. 

Audience: From Freshonthenet.co.uk, ”This record will be a must have for the slightly insane.”  Enough said.

Why selected: I love the raw verve that punches right from the start and doesn’t stop until the CD ends or you throw up!  It’s all about drinking and sinning.  The spin cycle sucks you in & spits you out! 

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A-T-3 176 Double Dee & Steinski - Lesson 1 (The Payoff Mix)

One month after the release of Play That Beat Mr DJ Tommy Boy launch their Down By Law Switch The Licks Mastermix Contest. Shep Pettibone was (and still is) the king of the Mastermix, his innovative mixes for 98.7 Kiss FM in New York were extremely popular and influential. There were others of course, Tony Humphries was given his big break when he stood in for Shep on Kiss FM, the Latin Rascals were getting their mastermixes aired on New York City dance radio WKTU, and in Chicago there was the Hot Mix 5 on WBMX's Saturday Night Live Ain't No Jive mix show (here's an example from 1983). In addition to these DJ only bootleg edits were being circulated by the likes of Danny Krivit and others, and Ron Hardy was making his equally revolutionary edits

Tommy Boy's mastermix contest offered the grand prize of $100, a custom Tommy Boy t-shirt, and records. They would also put the winner on a Disconet comp, which was a record sent out to club and radio DJs, and a guarantee of getting play on radios across the country. 75 entries were submitted, 10 made it to the second round which would be played to a panel of industry experts

"[Shep] Pettibone and [John "Jellybean"] Benitez were part of a blue-ribbon panel who downed pizza and beer at a listening party where the winner would be chosen from 10 finalists. The hot dance track of the moment, Shannon's "Let the Music Play," saw heavy action in the early going--since both songs are addressed to DJs, there was even a thematic connection. But the ninth entry didn't come from a DJ, and it didn't dip into Shannon's well, either. It did glance off hot dance tracks by Yaz, the Peech Boys, Herbie Hancock, Culture Club, and Indeep amid rap, disco, funk, and rock and roll classics too numerous to mention--as well as less melodic material from Humphrey Bogart, Dr. Saint, Betty White's dance instructor, and the National Aeronautics and Space Administration. When the tape was through, the judges broke into applause. They knew instantly that Double Dee & Steinski had taken mastermixing into new realms--or appeared to, which was good enough for openers."

Quote from Village Voice, Mar. 25, 1986

The winning entry came from Double Dee & Steinski. Both of them worked in commercials, Doug DeFranco (Double Dee) as an engineer for radio commercials and Steve Stein (Steinski) as a producer and ideas man. The kind of sound collage they produced wasn't entirely new. Cut and paste techniques and tape loops had been around for a while, as novelty by Buchanan & Goodman (The Flying Saucer, 1956), avant-garde by Steve Reich (It's Gonna Rain Pts 1+2, 1965), experimental non-music of Negativeland, and hip-hop (The Adventures Of Grandmaster Flash On The Wheels Of Steel, 1981 - to be fair this should really be Lesson 1, with a mix of Buffalo Gals as lesson 2). Lesson 1 is somewhere in between all these examples, it has novelty but isn't just a novelty record, it has the technical experimentation of process music, and it has breakbeats and blends that will be familiar to hip hop DJs

"So, one weekend we gathered up ten crates of records and camped out at the studio until the evening, and again the next day. And that was it, just the two days. After all there was no random access that computers gave us, you really had to work linearly from start to finish. We picked something to begin with (the top of the record) and kept asking “what next?”

"It was a real back-and-forth, and a true collaboration between the two of us - a beautiful creation from our hearts and rumps. Otherwise Lesson One wasn’t different from the work I was doing on a daily basis. But it was new territory and it sparked the discovery of Steve's unique production talents." - For two people working on something as abbreviated and ephemeral as commercials Double Dee & Steinski have been all over documenting their legacy in exhaustive detail. Here's DD writing about making the Lessons https://ddski.com/double-dee-making-the-lessons/

WBAI's Peter Bochan had a significant influence on Steinski, he produced spoken-words-and-music collages Shortcuts which he put out on tape

DJs love this record because Steinski is an obsessive record collector and he has incredible knowledge of records. Two more Lessons followed, 1984s excellent James Brown Mix, and people's favourite History Of Hip Hop Mix in 1985. The Lessons have charm and humour which you can't say for all of the hit records it inspired, such as Paul Hardcastle's global hit 19 in 1985, or M|A|R|R|Ss global hit Pump Up The Volume in 1987

Although not the first in hip hop the Lessons are probably the most influential and celebrated example of the cut-up style, taking cut-up to the next level, they really were an education for producers and DJs (later known as turntablists). In 2002 Strachild records put out The Ultimate Lessons compilation which contained all three of the original lessons along with another three: Lesson 4 by Dj Shadow, and 5 and 6 by Cut Chemist. The follow-up compilation The Ultimate Lessons 2 (the ultimate ultimate) has Coldcut's 1987 debut single Say Kids? on it. I remember this being the number 1 hip hop record in the UK on Mike Allen's National Fresh show for weeks. Say Kids? is directly influenced by the Lessons, it has the same wit to it and the samples have never been cleared. Coldcut would collaborate with Steinski in 1997. Say Kids? leads to Eric B. & Rakim's Paid In Full (Seven Minutes Of Madness - The Coldcut Remix) and the Double Trouble (Norman Cook and the awful Dancin Danny D) mix of Eric B. & Rakim's I Know You Got Soul, both from 1987. A year later the Dust Brothers produced Know How by Young MC would be released, and the first Prince Paul produced De La Soul singles would come out (on Tommy Boy to bring things full circle)

Cut-up wasn't confined to hip hop. For example Adrian Sherwood and Tackhead mixed the cut-up style with dub and funk, and Meat Beat Manifesto used the technique with an industrial sound. There are Negativeland's undefinable albums Escape From Noise and Helter Stupid. Arthur Baker, a judge for the Tommy Boy contest, would use cut-up on dance records like Criminal Element Orchestra's  Put The Needle To The Record (with Wally Jump Jr), and in the UK cut-up was used by L.A. Mix with Don't Stop (Jamming') and S'Express, Bomb The Bass, etc... And how can I forget Deee-Lite

Back to 1983 and the Tommy Boy contest. As part of their grand prize Double Dee & Steinski's winning entry was pressed up on Disconet Volume 6 Program 7 for DJs in January 1984 as Play That Beat, Mr. DJ (Master Mix First Place). The duo went back into the studio, this time for two whole weekends, and came up with the James Brown Mix which they called Lesson 2. Double Dee & Steinski privately pressed up 500 copies of a disco with these first two Lessons on it. In 1985 they made Lesson 3 (The History Of Hip Hop) which Tommy Boy put out as a promo with the other two mixes, I think this was the is when their mix of Play That Beat, Mr. DJ is renamed Lesson 1 (The Payoff Mix). In the UK Island records (I'm assuming using the sub label 4th + Broadway) made an effort to put out the Lessons officially, they cleared all the samples but the rumour is they couldn't come to a deal over the Herman Kelly sample and the project fell apart. In the early 2000s the Lessons were put out on a comp and now they are available direct from Double Dee & Steinski on their bandcamp https://ddsteinski.bandcamp.com/track/lesson-one-the-payoff-mix-2016-remastered

[thebopwontstop]

Nigel Owen & Sandy Ford, the classic Flying Saucers era!