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#the Martians
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Yip Yip Yip, Uh Huh, Uh Huh
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muppet-facts · 17 days
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Muppet Fact #1086
The Martians don't really like music, but they do like the sound of static on the radio.
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Source:
Sesame Street. Episode 1329. December 13, 1979.
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puppetdaily · 3 months
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The Martians from Sesame Street
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blue-kyber · 1 year
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To quote one of the comments,
"There's not many things better in this world than being weird together."
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sully-s · 4 months
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Listen, if I had the time I would just make Justice Leauge the mockumentary, lol.
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orangetubor · 8 months
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Polycule except one of them isn't dating anyone they're just there
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popping-greenbean · 20 days
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flinging your friends over your shoulder like potato sack. dangling them by the scruff stacking them up in your arms like laundry shoving them into your purse etc etc i love it
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from this screenshot from 'starcrossed'
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nerdpoe · 1 month
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A Favor for a Gift
Danny's new to the superhero scene, and he gets on rather well with Martian Manhunter.
He decides to give J'onn a gift, because he came across J'onn in a melancholy mood, and the Martian explained that he was homesick. Danny learned a lot about Mars and Martian culture, after telling him that he could vent to Danny if he wanted, and wants to do a little something to help J'onn out.
He goes to the Zone, searching for Martian ghosts to talk with. He finds Ghostwriter. Or rather, Ghostwriter finds him.
He proposes a deal.
He'll let Danny have two very old, very rare Martian books; but in exchange, Danny owes him. Big Time.
Danny....asks what the favor would be, cuz he's not about to agree to that without knowing what he's agreeing to.
Ghostwriter needs Danny to go enter into a Ghost Fighting Competition, the biggest in the Zone, because the prize is a book that not only does Ghostwriter not have, but the only copy of it's kind ever.
Danny agrees; he kicks ghost ass all the time, a fighting competition shouldn't be a problem. Pff. He'll be fine.
Okay he's a little nervous.
He pushes it down.
He gets one of the books early, as trade for even entering the competition in the first place, and rushes to give it to J'onn.
He's trying to psych himself up for the fight, but his intrusive thoughts keep making him remember the fights he's lost. He's just not good with stage fright! Fighting as a hero is one thing, but fighting in a competition is nervewracking!
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J'onn, getting a surface read of Phantom's mind, is concerned.
Due to Phantom being dead, not all of his thoughts are...legible. J'onn only gets flashes here or there, maybe emotions.
J'onn just got a flash of a coliseum, with stands filled to the brim, and another flash of Phantom losing in a fight.
Phantom is nervous.
Phantom, who's powers are so strong he can fight on equal footing with Superman, is nervous.
It is not the normal anxiety he can feel from the young ghost, it is something else.
Phantom tells him that he knows where another book is, he just needs to win it.
J'onn has heard of how Vicious Infinite Realms Ghosts can be, and it is reasonable to assume that Phantom being nervous is a direct result of a fight he knows he can't win.
A fight he's going to try to win anyways. For the sake of a book.
Phantom is worth more than a simple book.
Phantom disappears before J'onn can request that he not do that, leaving the Martian standing there with a book older than he is, with the knowledge that one of his friends is about to face...something. Some sort of danger.
And all J'onn can do is wait.
Naturally, he refuses to do that and calls the JLD to track down Phantom.
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bludmd23 · 2 months
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Pats all of them 🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰
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jesterraconteuse · 24 days
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Hal Jordan finding out about Nightwing: YOU. You have a *kid*?
Batman: well... Technically he's my oldest and age of majority... But he's still my kid.
Hal Jordan: OLDEST? YOU HAVE MORE? 2? 3?
Batman visibly annoyed:... 6... Legally.
Hal Jordan: I'm going home. This has single handedly killed my willpower for a week, I need to process this.
Later....
Superman: Ah so you finally found out. I'm proud of him honestly, good to see he's willing to bond with others again.
Hal Jordan: You knew?
Superman: ...His kids basically call me Uncle Supes. I've babysat. I was around when he still just had Nightwing
WW: They're so cute! Children of such strength and bravery. Not to mention his dog, his cat, his cow... His son has animals even I've never seen before!
Hal Jordan: I've had enough.
And Hal hasn't even learned about his crime fighting cousin, batwing, Oracle, bluebird, Spoiler, and of course Jarro.
Note: everyone knows Supes is a father, he's the dad to talk your ear off about it but he's too nice with too much country charm for anyone to say anything about it. WW and Martian Manhunter are the only ones who listen absolutely intently.
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mywifeleftme · 9 months
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138: Various Artists // Experiments in Destiny
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Experiments in Destiny Various Artists 1980, BOMP!
BOMP! is a venerable Los Angeles-based indie label, founded in 1974 and would you believe still going to this day. Experiments in Destiny samples 28 bands either signed to or distributed by the label, and it’s a who’s who of “Who?” with a few starrier names scattered in. They specialized in New Wave, homages to ‘50s and ’60s rock, and springy power pop. I wrote this intro after deciding to do a track-by-track recap below, so uh, let’s get to it because there are too many words as it is.
Side One
Stiv Bators: First time hearing the solo work from the Dead Boys’ Stiv Bators, and it turns out he’s… Tom Petty-ish?
The Real Kids: Pitching this here with no real forethought, but you can divide power pop bands by whether or not their singers sound like their throat is dry. Boston’s The Real Kids are great, great dry-throated power pop, and probably one of the better-known acts here thanks to “All Kindsa Girls” showing up on a lot of compilations. They’d already broken up by 1980, so we get an unreleased demo that probably wasn’t easy to find elsewhere at the time.
The Dadistics: Somewhere between the Slits and Rough Trade, a little Pat Benatar in the vox—puts me in the mind of the similarly cool and obscure Mo-Dettes. The first third of the song is a no wavey fakeout, then it goes into a kinda Feeliesy riff. Extremely cool! And vocalist Audrey Stanzler went on to be part of the original lineup of… Ministry?!
Blake Xolton & The Martians: Tasting notes: Maybe Magazine at their most electronically disassociated? Blake Xolton was a producer with a very sparse discography, who may also have been part of the phony International Society of Poets who set up the controversial Poetry.com, a “poetry shearing site” per Wikipedia.
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Jimmy Lewis & The Checkers: Pubby cover of the Aretha Franklin chestnut “Think.” Probably a little too close to Huey Lewis & the News for my taste.
The Nuns: Blondie-esque New Wave, with some very cool guitar and backing vocal effects that make it sound like the action is taking place in a futuristic resurrection chamber.
Gary Charlson: A smooth Kansas City pop rocker—his vocals strongly remind me of some minor prince of '70s classic rock radio, but all I'm coming up with is the guy from .38 Special, and I know that's not it. His sole EP covers a number of the titans of power pop (e.g. the expected Raspberries, Byrds, and Badfinger, the at the time obscure Big Star, the eternally head’s only Crabby Appleton and Vance or Towers), but he somehow never ended up cutting an LP despite a very radio-ready sound. Self-produced wonder? Nice bit o' Middle American flavour to it.
Side Two
Rodney & The Brunettes: Cutesy one-off cover of the surf rock classic by LA DJ Rodney Bingenheimer, who gives a respectable effort.
The "B" Girls: Toronto girl group who might've been able to get some of that Go-Go's money with a little polishing. Good harmonies, lead singer had a nice voice on her.
The MnM's: Excellent shake and pop, written by Paul Collins of the Nerves and the (American) Beat, and featuring the latter band's Steve Huff on bass. Vocalist Marci Marks is the kind of diminutive punk girl I’d probably have been crazy for at the time.
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Paul Collins: Speaking of Collins, this is a second reminder in a row that I really need to get around to listening to his post-Nerves material, because this is a great sub-two minute blast of punkified Merseybeat.
Nikki & the Corvettes: Three-piece girl group from Detroit that sound strikingly like Tweens, a 2010s pop punk fav of mine. I'm addicted to this particular kind of snotty/bratty femme vocal, love how much room the single guitar gives to hear the bassist noodling around. Somehow I think this is the first time I’m hearing these guys.
Kathy & the Lawnmowers: After five straight '60s revival songs, we take an abrupt detour into Devo world. Kathy & the Lawnmowers were produced by the notorious Kim Fowley, who provides a blurb in the liners explaining that the mysterious bandmembers arrived at a session wearing masks having never met before, cut some tracks, then removed their masks, didn't like the looks of one-another and split for good. That's obviously baloney, but I prefer it to the version where Fowley did something terrible to them, which would not be uncharacteristic. They’re also credited as Jukebox Rebel Queens on the back cover? Anyway, fun trash sci-fi ramble about green children.
Side Three
The Sonics: "Up (to) the Junction"—sadly not a Squeeze cover, but pretty fetching stuff from the legends nonetheless. The bluesy rocking side of the Sonics (as opposed to the frothing proto-punk side), nice biting guitar tone.
The Weirdos: Per the liners, allegedly LA's first punk band, a claim I can't dispute because I continue to not know much of anything about LA punk, this is fun rockabilly style fair, like a less stylish Cramps. Good stomping beat.
The Zantees: A Gene Vincent cover in a Stray Cats vein, with a guitar player who can really go in that zippy old school Scotty Moore style.
Jon & the Nightriders: A surf rock instrumental cover—I wondered if "Super Jet Rumble" might've been by the Jet-Tones (of "Jet Tone Boogie" 'fame'), but no, seems to be a tune by The Breakers. Anyway, this sounds like every surf rock song, which is to say it rules but not in a way you'll necessarily remember.
The Lipstick Killers: High energy Australian garage rock that the band apparently called "straight edge music"; presumably Ian MacKaye had to go down to the Yabba and win a few rounds of the game from Wake in Fright to win the rights to that term. While we're at it, the song's called "Hindu Gods (of Love)"—Warren Zevon and R.E.M., you've got some explaining to do! Presumably on the B-side of the original single they also coined the term 'hyphy' and invented Lou Barlow.
The Hypstrz: A Minneapolis band with a legendary live reputation, but I can't really fuck with bands whose main gimmick is garaged up versions of old R&B sides. They probably absolutely crushed it live, but this version of "In the Midnight Hour" just kinda exists for me.
The Last: Clearly a last-minute (not a pun, fuck you) addition as it's not listed on the back of the sleeve or in the liners, the Last's "She Don't Know Why I'm Here" is a slashing piece of Anglophile psych-pop and one of the best things on this entire comp. It stuffs a remarkable number of twists and turns, false finishes, and secondary riffs into its three-and-a-half-minute runtime. The Last have a small cult following for their run of singles and debut LP LA Explosion! My only regret is that they didn't include the original single version of this one, as it elevates a groovy jam into a thrashing raveup.
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The Dead Boys: Stiv Bators' second appearance on the comp; the Dead Boys were an almighty force in their day, but there's something kinda funny to me about ol' sloppy Stiv being the centrepiece of any label's roster. A good-enough take on "3rd Generation Nation" from their live LP Night of the Living Dead Boys—RateYourMusic reviewer mofoking shares some interesting backstory on how that LP came to be distributed by Bomp! and why nearly all of Stiv's vocals had to be overdubbed.
Side Four
The Crawdaddys: Perfectly competent Velvets cover, though the vox sneer their way past Lou into a Dylan impression.
The Martians: Previously appearing on this comp backing up "Blake Xolton" on a weirdo New Wave Christmas song, their own sound is traditional Merseybeat stuff. This isn't a classic, but it's a damned fine pastiche. Apparently they were a pair of record producers who joined together for this project, sharing lead vocal duties and playing all of the instruments themselves. No wonder it sounds great.
Pete Holly & the Looks: Heavy New Wave from Boise, Idaho, sporting a hilarious watery vocal filter and waka-waka guitar riffing. The chorus conceit is goofy ("Look out! Below!") but the Boiseans acquit themselves well. Somebody had to hold down the fort between Paul Revere & the Raiders and Built to Spill, so my thanks to Pete Holly.
The Wombats: Not the ’60s Wombats from Illinois or the ‘90s Wombats from also Illinois or the ‘00s Wombats from Liverpool, but rather a fourth Wombats from Cleveland, presumably the marsupial capital of the Lower Midwest. This (“Utter Frustration”) is sloppy and great and went by very quickly while I was trying to research whether Ohio's indeed part of the Lower Midwest, so I had to listen to it again.
Rainbow Red Oxidizer: A former sideman for the Seeds' Sky Saxton (presumably around the time he was fucking around with the Source Family), Rainbow Neal is accompanied by members of Focus, Spirit, Captain Beefheart's Magic Band, and even Mars Bonfire from Steppenwolf. I've got like six tabs open trying to figure out what this guy's deal is--love when a compilation sends me down a research hole like this. I'm sampling the Oxidizer LP now, and despite its New Wave window dressing, it's viciously sarcastic garage rock with the occasional jangly gem—if anything Rainbow's voice reminds me of Wire's Colin Newman. What a great song "When You Walk in the Room" is!
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Cheek: Okay, these guys are Australian, covering an old Easybeats song, and are even produced by Vanda & Young, who give them something like a vintage AC/DC production sound, though these guys are considerably poppier than Angus and company. Vocalist does have a faint Bon Scott keen to his voice at times though.
The Romantics: Detroiters best known for "What I Like About You" (one of those songs I have heard ten thousand songs and never questioned the provenance of) turn in a rarity in "Running Away," a slab of pristine midwestern power pop that was apparently intended to be issued as a single with BOMP! but ended up seeing its first release here. They'd lose the Romantics to the Atlantic-distributed Nemperor Records right before they blew the fuck up, which has gotta be a label owner's nightmare.
Well, that took goddamn forever. If you’re still around, the tracks I most recommend fishing out are the Real Kids, Dadistics, “B” Girls, MnMs, Paul Collins, Nikki & the Corvettes, Last, Martians, Wombats, and Rainbow Red Oxidizer tunes. Not a bad haul!
138/365
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muppet-facts · 1 year
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Muppet Fact #724
The first place to create and sell merchandise of the Martians (Yip Yips) was Hot Topic in late 2003.
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Sources:
The Martians: Merchandising. Muppet Wiki.
Sesame Street T-shirts: Yip-Yip Martians. Muppet Wiki.
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briviting · 2 years
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womp womp
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jieloksworld · 2 months
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I SWEAR THIS FUCKING MAN RIGHT HERE
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dudes be like the alien guy was hot so pinned him to the fucking floor
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atomic-chronoscaph · 4 months
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The War of the Worlds - art by Edward Gorey (1960)
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dio-niisio · 2 months
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I love the idea that Batman has a Dad Instinct™. Like he just knows when one of his kids is in trouble! Whatever it is, it can be because of a villain or because they are causing mischief he just knows!
It can obviously be infuriating for the batkids, like he's in the middle of an important meeting with the Justice League and suddenly he just stops talking and goes in his personal comms and starts to bicker with Nightwing saying "No, you can't go bust that cartel alone. I don't care that you and Jason are fighting you are going to take him with you-" and you can hear a distinct "But daaaad!!" from Nightwing.
Or he just says "Don't you dare." when one of his kids is in the Watchtower with him and starts looking at Flash with mischievous eyes.
Or even better he starts to treat some of League members just like he treats his kids! Like "Don't touch that." when Green Lenten takes a step too close to one of the buttons near the windows (he was going to open the windows when the sun is directly hitting on said windows, probably temporarily blinding some people). Or "57 boxes of Oreos is too much even for you, my friend." when Martian Manhunter looks at the kitchen again (he eats too much of the stuff and is starting to become a problem).
Or when he looks at our baby Billy Batson and he has a feeling that he needs to take care of him but that's Marvel! And he's clearly a grown man! Right? (It doesn't help that he just can't find anything on him)
He cares too much for his on good
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