From the 1961 release The Bad And The Beautiful

SUN RA - The Singles - Amazon.com Music

thought to paint something today for my egyptian gods project. Ra all handpainted, borrowed another artwork i made for the shoulderpad. fun stuff. prints available: https://www.inprnt.com/gallery/thefearmaster/ra-god-of-the-sun/ g'night #egyptiangods #ra

By Nancy Mattoon Sun Ra and His Myth Science Arkestra, Fate in a Pleasant Mood , Saturn SR9956-2-B, 33 1/3 rpm, 1965. (All Images Courtesy O...

Sun Ra Exotica by Sun Ra & His Arkestra, released 24 November 2017 1. Kingdom of Thunder 2. Space Mates (abridged) 3. Star Bright 4. The Nile (Part 1) 5. Eve 6. Tiny Pyramids 7. The Lady with the Golden Stockings 8. Paradise 9. New Horizons 10. Portrait of the Living Sky 11. India 12. Ancient Aiethopia 13. Planet Earth 14. April in Paris 15. Island in the Sun (complete version) 16. Africa 17. Friendly Galaxy 18. Interstellar Low Ways 19. Conversion of J.P. (abridged) 20. Cha Cha in Outer Space 21. Brazilian Sun 22. Lights on a Satellite 23. Somewhere In Space 24. Spontaneous Simplicity 25. Overtones of China When fans think "Exotica," the names that come to mind are Martin Denny, Arthur Lyman, Les Baxter, Esquivel, and countless others. But Sun Ra? Here, we offer an illustrative passage from John Szwed's indispensable 1997 Ra biography, Space is the Place. For context, Szwed is chronicling the evolution of Ra's style in the late 1950s, when the budding legend was based in Chicago, leading a midsized ensemble (already dubbed an "Arkestra"), and still working largely in subgenres identifiable as "jazz." Szwed's reflections on Sunny's absorption with Exotica align the Afrofuturist icon with an unlikely musical inspiration: [quote] "Sunny was listening to the Hollywood-inspired music being made by people like David Rose, whose lush, massed string writing could be heard as theme songs on popular radio programs; or to the exotica of people like Martin Denny, who recorded in Honolulu accompanied by animal noises, natural acoustic delay, and reverberation; and especially to the arrangements of Les Baxter, the premier figure in what was being called mood music. "Baxter developed a post-swing style in the late forties and early fifties of spectacular orchestral writing, full of timpani and hand drums, tumbling violin lines, harps, flutes, marimbas, celesta, Latin rhythm vamps, the cries of animals, choral moans, and flamboyant singers, creating imaginary soundscapes which he helped evoke with titles like 'Atlantis,' 'Voodoo Dreams,' and 'Pyramid of the Sun.' Sunny first heard Baxter on Perfume Set to Music (1946) and Music Out of the Moon (1947). Baxter went on to produce records which celebrated the Aztecs (The Sacred Idol, 1959), South Asia (Ports of Pleasure, 1957), Africa and the Middle East (Tamboo!, 1955), and the Caribbean (Caribbean Moonlight, 1956), all of which used Latin rhythms generically, as did his two big band records, African Jazz (1958) and Jungle Jazz (1959). Though later generations would understand this music in strictly utilitarian terms, and hear in it the sounds of air conditioning and the clink of ice in cocktail shakers, for Sunny it was music rich with imagination and suggestion. His genius was to take as raw material what others in the 1950s thought of as 'easy listening' and turn it into what in the late 1960s would be heard as 'Third World music' by some and as 'uneasy listening music' by others." [/quote] Perhaps it's enough to say that Ra and Baxter were both musically omnivorous. However, Baxter, like Sunny, composed music that resisted the Earth's gravitational pull. His 1958 LP Space Escapade contained titles that share a vision with Ra: "Saturday Night on Saturn," "Moonscape," "A Distant Star," "The Other Side of the Moon," and "A Look Back at Earth." His 1947 Music Out of the Moon is arguably the Rosetta Stone of outer space Exotica. Like Sunny, Baxter was an early adopter of the Moog synthesizer—he released the album Moog Rock in 1969, the same year Sunny found himself in Gershon Kingsley's Manhattan studio exploring the circuit-based sounds of the new instrument (featured on tracks he would self-release as My Brother the Wind). And Ra's 1957 debut LP Jazz by Sun Ra included Harry Revel's "Possession," which had first been introduced on Baxter's album Perfume Set to Music. In a 1996 eulogy for Baxter in Wired magazine, David Toop wrote that "Baxter offered package tours in sound, selling tickets to sedentary tourists who wanted to stroll around some taboo emotions before lunch, view a pagan ceremony, go wild in the sun or conjure a demon, all without leaving home hi-fi comforts in the white suburbs." Was Exotica kitsch? Did it represent "cultural appropriation"? Was it a dilution of indigenous art? Who cares? Music should be enjoyed on its own terms. The Beatles were heavily influenced by American R&B. Ra borrowed from Gershwin and Stan Kenton. Nigerian juju music was radically altered by the infusion of electric guitars and Western rock. This is how styles develop and evolve. Exotica has roots, but those roots are uncopyable. What emerges is something derivative, yet original. Here you have Sun Ra, of African-American extraction, influenced by Les Baxter, a Caucasian from Texas, who was in turn influenced by primitive jungle rites. It's a cultural feedback loop, best enjoyed by leaving politics out of it. ====== Herman Poole "Sonny" Blount was born in 1914 in Birmingham, Alabama, where racial discrimination was endemic and historic. Music became his solace. During the late 1940s and 1950s he lived on Chicago's South Side, a black racial enclave. It was a culturally vibrant, if economically downtrodden community. Like many of his neighbors, Ra struggled to earn a living and aspired to move on. However, "travel" takes many forms, not all measured in miles. Paul Youngquist, in a chapter entitled "Interplanetary Exotica," from his 2016 book A Pure Solar World: Sun Ra and the Birth of Afrofuturism, writes: "One of [Sun Ra's] responses to the confinement of blacks, segregated as they were in Chicago's South Side and other such urban spaces […] involved deploying the cultural rhetoric of the Space Age toward the progressive ends of opening up wider vistas, new horizons. If blacks couldn't flourish in segregated cities, then maybe they could follow exotica into space." Mainstream Exotica's sensuous dreamscapes underscored middle-class post-war optimism, providing rhapsodies for midcentury moderns. Ra knew the despair of the underclass, and created art that was no less escapist. Music could be transcendent; it could transport the listener. The root word "exotic" implies something strange, something unfamiliar, a place that's — anywhere but here. Maybe you can't afford a cruise to Barbados, but a stylus in a cheap microgroove LP could be a ticket to paradise—or the moon—for 20 minutes. That Ra hasn't been widely celebrated in Exotica circles is understandable. He never made an "Exotica record"; such tracks are mixed in his LPs alongside space jazz, post-bop, electronic freakouts, and sonic experiments. Another reason: the most acclaimed Exotica LPs were "clean." The labels and producers strived for technical perfection. Ra's catalog—indeed his style—is redolent with wrong notes, indifferent mixes, ad hoc mic placement, ill-tuned instruments, distortion, and dollar-store acoustics. Perfectionism? With Sun Ra, it’s all perfectly flawed. But where it lacks sonic purity, it offers something more gratifying: soul. Ra is not known for cocktail party accompaniment or Tiki bar soundscapes. But here's a few dozen recordings that might suit the mood. [adapted from the full LP/CD package liner notes by Irwin Chusid] MODERN HARMONIC issued EXOTICA on vinyl and CD with extensive annotation and photos. 3-LP set here: modernharmonic.com/sun-ra-exotica-3-lp-set.aspx 2-CD set here: modernharmonic.com/sun-ra-exotica-2-cd-set.aspx

This is my own interpretation and original design of the most important Egyptian God, Ra. In this project, I aimed to capture an authentic representation of the ancient egyptian god but also, bring in my own design elements. Rather than depicting Ra with a typical falcon head atop a human body, I chose to imbue his visage with humanoid features infused with bestial elements reminiscent of a falcon, creating a more powerful superb divine appearance. The facial structure incorporates falcon-like traits, including a pattern resembling that of a falcon's face, along with long talon-inspired nails. I sought to portray Ra's SunDisk in two distinct ways within this project. Firstly, the magical artifact known as The SunDisk (eye of Ra) is prominently displayed on his chest, often depicted with two Uraeus (cobras). This artifact serves as a focal point for channeling the concentrated power of the sun into a celestial solar beam attack. Secondly, the physical manifestation of the sun hovers above Ra's head, symbolizing his absolute authority and his literal embodiment of the sun. The scarab symbolizes one of his sun subornments Khepri, representing the morning sun that aid Ra Ra's body was sculpted from scratch using Zbrush without relying on a base mesh. The re-topology and UV-mapping processes were carried out in Maya. The initial clothing design was created in Marvelous Designer to establish primary folds, which were then refined in Zbrush to include secondary and finer details. Texturing was completed using both Toolbag 4 (for cloth and accessories) and Substance Painter (for skin). The main renders were produced using Unreal Engine 5, particularly for the sun material, alongside Toolbag 4. The SunMaterial was specifically developed in Unreal Engine 5, and all textures utilized 4k maps. Tris Count: Combined: 96,864 Body: 51,636 Clothes + accessories: 45,228

This 8.5″×11″ handbill was printed to advertise a show by Sun Ra & His Omniverse Arkestra at the Old Waldorf in San Francisco, on October 11, 1980. All bigger type is in caps from Compacta, with a few extraterrestrial glitches. The spelling of “Saturnday” is most def

Ra was the king of the deities and the father of all creation. He was the patron of the sun, heaven, kingship, power, and light. He was not only the deity who governed the actions of the sun, he could also be the physical sun itself, as well as the day. It was said he was born each morning in the East, and died each night in the West. In the night he travelled through the underworld. This is why the west side of the Nile was known as the land of the dead. He had the head of a Falcon, the body of a man, and was the king of the Egyptian gods.

Buy "Little Sun" by BabyKarot as a Sticker. A little sun befriends a small cloud - it's all about the story between those two guys! ‘BabyKarot is for Kids of all ages who love cute animals and day dreaming.’ RedBubbles quicklinks LittleSun Ra

The sun broke through in Portland last week after our usual six months of rain and grey, and we are all smiles and optimism! Here's hoping your skies are just as hopeful.  For your spring brunching plans, consider the Ratio Thermal Carafe. Whether it's used as a simple insulated pour over setup or a companion to the Ra

Gilded silver figurine of the god Amun-Ra, created in Egypt about 1069 to 715 BC. Found near Karnak, Thebes. Amun was the god of creation, and the patron god of Thebes. As the Thebans conquered the rest of Egypt, most notably the Hyksos, Amun became associated with Ra, the god of the sun, who was the chief deity elsewhere in Egypt. As the merged Amun-Ra, the god was King of the Gods and creator of all other gods. The figure of Amun is crowned with the double-crown adorned with the disc of the Sun.

In ancient Egyptian mythology, Ra was the powerful sun god who represented warmth, light, and growth. He was often depicted with the head of a falcon and a golden sun disk on his head, symbolizing his connection to the sun. Embrace the energy of Ra and let his radiant light guide you towards new beginnings and growth. 🌱 #Ra #SunGod #EgyptianMythology #AncientEgypt #Renewal #NewBeginnings #Radiance #Energy #Mythology #History #Inspiration #Spirituality"

In ancient Egyptian mythology, Ra was the powerful sun god who represented warmth, light, and growth. He was often depicted with the head of a falcon and a golden sun disk on his head, symbolizing his connection to the sun. Embrace the energy of Ra and let his radiant light guide you towards new beginnings and growth. 🌱 #Ra #SunGod #EgyptianMythology #AncientEgypt #Renewal #NewBeginnings #Radiance #Energy #Mythology #History #Inspiration #Spirituality"

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Shop high-quality unique awesome Sun Ra T-Shirt is a relaxed unisex fit. Available in a range of colours and Size - Snazzytshirt.com

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SUN RA CENTENNIAL CELEBRATION Wednesday, May 21, 7:30pm BAKERSFIELD JAZZ WORKSHOP at Le Corusse Rouge 4647 White Lane, Bakersfield, CA free admission, donations encouraged Featuring James Russell (…

Explore the tracklist, credits, statistics, and more for Nothing Is... by Sun Ra. Compare versions and buy on Discogs