transformativeworks:

an-avaar-skald-and-bearsark:

zoinomiko:

blame-my-muses:

startrekships:

danbensen:

exxos-von-steamboldt:

gallusrostromegalus:

jewishdragon:

frosttrix:

bigscaryd:

animatedamerican:

rainaramsay:

argumate:

gdanskcityofficial:

collapsedsquid:

argumate:

If space travel doesn’t involve sea shanties then I think we’ll have missed an opportunity.

You see though, for sea travel you want big strong people who are capable of managing rigging.  For space travel you want small low-mass people who are technically educated, as they are called, nerds.  Your space shanties are going to be less booming and more squeaky.

in so far as there will be space shanties, they’ll be filk

I call shenanigans on the big strong people; sailors were young and malnourished by modern standards, and climbing around the rigging is easier if you’re small and light.

Like, I am 100% in favor of shanties in as many situations as possible, but I’m having trouble coming up with a mode of space travel that would require multiple humans to move in concert, thus necessitating songs with a strong beat to move to.  

Sea chanties were for providing a strong beat to move to.  Space chanties might very well arise just because we’re bored, out there between point A and point B for so long.

(Also yes, @gdanskcityofficial up there has the right of it.)

Space shanties are for warp piloting. Under warp drive, human time perception and time as measured by crystal or atomic oscillators don’t match. Starship pilots listen to a small unamplified chorus singing a careful rhythm while keeping their own eyes on a silent metronome that the chorus can’t see, linked to a highly-precise atomic clock. How the chorus and metronome fall in and out of sync tells the pilot how to keep the ship safely in the warp bubble and correctly on course.

Depending on route, a typical warp jump can last anywhere from one to ten minutes, and most courses consist of five to fifteen jumps before a necessary four to six hour break to check the engines, plot the next set of jumps, and give everyone a chance to recover. A good shanty team, with reliable rhythm, a broad, versatile, and extendible repertoire, and the stamina to do 3-4 sets a day over the course of a voyage, is just as vital to space travel as a pilot, navigator, or engineering team.

@tmae3114

YESSSSS

Other reasons Shanties will experience a revival in the space age:

  • We will sing for any freaking reason, or no reason at all, and Shanties are FUN to sing.
  • Deep Space is a lonely place and recruiting people suited to long periods of isolation might be a good idea.  People from Newfoundland/Labrador, for instance.
  • SPACE WHALES
  • THEY’RE DEFINITELY REAL I FEEL IT IN MY SOUL
  • “What Do We Do With A Drunken Sailor” is basically a revenge fantasy against your most incompetent co-workers and if there’s something humans love doing, it’s being petty.

@danbensen

I left my alter drifting
In another quantum brane
His eyes are sort of shifty
But we’re otherwise the same

If the timeline branches one way
I’m alive and he is dead
But if we go the other
Then it’s me who croaked instead

So remember when when you’re sailing
‘Pon the hyper spatial sea
If your life you would preserve
Do not trust the evil me.

^^^^^

so…

i might have done a small recording because i love all of this.

*MUFFLED SCREAMING*

Oh, Space Australia is my home, Heave Away, Haul Away, And we’re bound for Space Australia

It got better

deadcatwithaflamethrower:

theotherguysride:

copperbadge:

rakshasi-sue:

ekjohnston:

copperbadge:

sparkleharder
replied to your post “220-221b-whateverittakes replied to your post “*shakes fist at you*…”

https://m.youtube.com/watch?v=KTDNMpJHN0Y

This is…the wildest, nerdiest thing I think I have ever seen on youtube. 

I think the most impressive part is that he commits to THE ENTIRE SONG.

You know, depending on where you live, you may be able to check out an otamatone from your local public library and try this yourself FOR FREE.

Clearly I gotta lobby the HWLC to start a musical instrument lending library…

@deadcatwithaflamethrower @norcumi

*rolls into a ball sporfling*

W…TF?

bigscaryd:

animatedamerican:

rainaramsay:

argumate:

gdanskcityofficial:

collapsedsquid:

argumate:

If space travel doesn’t involve sea shanties then I think we’ll have missed an opportunity.

You see though, for sea travel you want big strong people who are capable of managing rigging.  For space travel you want small low-mass people who are technically educated, as they are called, nerds.  Your space shanties are going to be less booming and more squeaky.

in so far as there will be space shanties, they’ll be filk

I call shenanigans on the big strong people; sailors were young and malnourished by modern standards, and climbing around the rigging is easier if you’re small and light.

Like, I am 100% in favor of shanties in as many situations as possible, but I’m having trouble coming up with a mode of space travel that would require multiple humans to move in concert, thus necessitating songs with a strong beat to move to.  

Sea chanties were for providing a strong beat to move to.  Space chanties might very well arise just because we’re bored, out there between point A and point B for so long.

(Also yes, @gdanskcityofficial up there has the right of it.)

Space shanties are for warp piloting. Under warp drive, human time perception and time as measured by crystal or atomic oscillators don’t match. Starship pilots listen to a small unamplified chorus singing a careful rhythm while keeping their own eyes on a silent metronome that the chorus can’t see, linked to a highly-precise atomic clock. How the chorus and metronome fall in and out of sync tells the pilot how to keep the ship safely in the warp bubble and correctly on course.

Depending on route, a typical warp jump can last anywhere from one to ten minutes, and most courses consist of five to fifteen jumps before a necessary four to six hour break to check the engines, plot the next set of jumps, and give everyone a chance to recover. A good shanty team, with reliable rhythm, a broad, versatile, and extendible repertoire, and the stamina to do 3-4 sets a day over the course of a voyage, is just as vital to space travel as a pilot, navigator, or engineering team.

berlinphil:

Die Katzen von Pafos haben ihren Chefkritiker geschickt. Unser Erster Solo-Bratscher 
Máté Szűcs 

versucht, ihn mit Charme zu bestechen.

The cats of Pafos have sent their chief music critic. Our first principal violist
Máté Szűcs

tries to keep him in a good mood.

Photo: Monika Rittershaus

somanyfandomssolittletime:

American composer James Horner (born August 14, 1953) was killed in a plane crash earlier this Monday at the age of 61. Horner – who became one of the leading film score composers of his generation – developed an interest in composition early in life, with his studies taking him to the Royal Academy of Music in London and the University of Southern California (USC) in Los Angeles to study. Subsequent work with the American Film Institute (AFI) propelled him to highly prominent jobs in Hollywood at a young age. Horner would be nominated for ten Academy Awards, winning twice for Titanic’s original score and for Best Original Song for “My Heart Will Go On”.

Nine of the many films he worked on follow. Excerpts from each film score can be heard if you click on the link (left-right, descending):

Star Trek II: The Wrath of Khan (1982) – directed by Nicholas Meyer; starring William Shatner, Ricardo Montalbán, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Nichelle Nichols, Walter Koenig, and Kirstie Alley

An American Tail (1986) – directed and co-produced by Don Bluth; starring the voices of Cathianne Blore, Dom DeLuise, John Finnegan, Phillip Glasser, Amy Green, Madeline Kahn, and Christopher Plummer

Willow (1988) – directed by Ron Howard; starring Val Kilmer, Joanna Whalley, and Warwick Davis

The Land Before Time (1988) – directed and co-produced by Don Bluth; starring the voices of Gabriel Damon, Candace Huston, Judith Barsi, and Will Ryan

Glory (1989) – directed by Edward Zwick; starring Matthew Broderick, Denzel Washington, Cary Elwes, Morgan Freeman, Cary Elwes, Cliff De Young, Andre Braugher, and Jihmi Kennedy

The Rocketeer (1991) – directed by Joe Johnston; starring Billy Campbell, Jennifer Connelly, Alan Arkin, and Timothy Dalton

Legends of the Fall (1994) – directed and co-produced by Edward Zwick; starring Brad Pitt, Anthony Hopkins, Aidan Quinn, Julia Ormond, and Henry Thomas

Apollo 13 (1995) – directed by Ron Howard; starring Tom Hanks, Kevin Bacon, Bill Paxton, Gary Sinise, and Ed Harris

Titanic (1997) – directed, co-produced, and written by James Cameron; starring Leonardo DiCaprio, Kate Winslet, Billy Zane, Kathy Bates, Frances Fisher, Bernard Hill, Jonathan Hyde, Danny Nucci, David Warner, Bill Paxton, and Gloria Stuart

Other scores of interest: Krull (1983), Star Trek III: The Search for Spock (1984), Cocoon (1985), Aliens (1986), Field of Dreams (1989), Braveheart (1995), Jumanji (1995), The Missing (2003), The Legend of Zorro (2005), and Avatar (2009).