#artist john murphy

[kmpshitposter]

- I know you now. You are The Laughing Magician. I dreamt you once.

- Yeah? Hope you didn't wake up screaming.

[ungoblin]

"maybe in another universe I don't feel so alone"

[haveyoulistenedtothisalbum-poll]

Tracklist:

Stay Home • I'm A Believer • Like Wow! • It Is You (I Have Loved) • Best Years Of Our Lives • Bad Reputation • My Beloved Monster • You Belong To Me • All Star • Hallelujah • I'm On My Way • I'm A Believer (Reprise) • True Love's First Kiss

Submitter's Note: Some songs are unavailable on streaming

Spotify ♪ YouTube

[cobblepot1966]

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＊ The Identity of the Futurist Classic: Extinction

ㅤㅤㅤㅤ￤presentación oficial — teaser trailer.

ㅤ　"A strange world where the classic coexists with futuristic"ㅤ ㅤ

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Sinopsis:

Cinco años después de la primera historia, la humanidad enfrenta la extinción a manos de los replicantes en una guerra por la supervivencia. Johnson, resucitado como un replicante y traicionado por Billy, debe unirse a él como viejos Runners Assasin para detener la amenaza que los asecha. Juntos, deben descubrir la verdad sobre los Runners Assassin desaparecidos y luchar contra los replicantes para salvar lo que queda de la humanidad.

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＊ The Identity of the Futurist Classic: Extinction

ㅤㅤㅤㅤ￤official presentation — teaser trailer.

ㅤ　"A strange world where the classic coexists with futuristic"ㅤㅤ

ㅤ　　ㅤㅤ

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Synopsis:

Five years after the first story, humanity faces extinction at the hands of replicants in a war for survival. Johnson, resurrected as a replicant and betrayed by Billy, must join him as old Runners Assassins to stop the threat that stalks them. Together, they must uncover the truth about the missing Runners Assassin and fight the replicants to save what's left of humanity.

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[ive-got-you-clovered]

Love in many different ways.

[chipou-art]

Blues Brothers art dump :0 all this is part of my Blues Brothers fanzine project i’m currently working on 🤙

[astraer]

[clarkkantagain]

john d t murphy dtla

[denimbex1986]

'EXCLUSIVE: Passing the time between Oppenheimer takes in a New Mexico bunker one morning at about 4 a.m., Cillian Murphy and Matt Damon sowed the seeds of a future collaboration. Fast-forward to today, and Small Things Like These is opening the Berlin Film Festival.

Murphy stars in and produced Small Things Like These alongside his Big Things Films partner Alan Moloney. Damon is also a producer — his and Ben Affleck’s Artists Equity financed the film that’s based on Claire Keegan’s acclaimed novel and was adapted for the screen by Enda Walsh. Tim Mielants directs.

Though it deals with a serious subject matter, the road to making the movie was “blissful,” and married “kismet” with “serendipity,” Damon and Murphy told me recently in a conversation that also touched on how Artists Equity acts as “facilitator” and not “babysitter” (according to Murphy, it also has an “undervalued superpower”), the importance of trust and whether or not the mutually admiring duo will work together again.

In Small Things Like These, Murphy plays a devoted family man who discovers the local convent is in fact a cruel institution that takes in so-called ‘fallen girls and women.’ This revelation forces him to confront some hard truths about the convent, his hometown — and his own life. Eileen Walsh, Michelle Fairley and Emily Watson also star.

Murphy had previously executive produced three seasons of Peaky Blinders, but this was his first feature producing role. So how did he step up to the plate, and what gave Damon the confidence to make this the fifth film his and Affleck’s nascent studio would finance? (Hint: It certainly wasn’t dinner conversation.)

Here’s our chat which has been edited and condensed for clarity.

DEADLINE: How well did you guys know each other before you worked on Oppenheimer?

MATT DAMON: We hadn’t met. I was a big fan, and because he had done Quiet Place II with John (Krasinski) and Em (Emily Blunt) — we all live in the same building in Brooklyn — I’d heard quite a bit about him.

When Oppenheimer came along, before I even met him, Em was just going on and on about how much fun we were gonna have.

And then of course I met him and he was no fun at all [Damon and Murphy laugh] because he was totally focused. He was a lot of fun to work with, but we joke that he never accepted a single dinner invitation — you know, we were out in the middle of Santa Fe, there was one place to eat and we’d go, “Cill, come meet us for dinner” and he just never, he’d go home and eat like a handful of almonds and get ready for the next day.

CILLIAN MURPHY: I just want to say about Matt — and I’m going to embarrass him, and I’ve done it before but it’s too late now — I’ve admired him from a distance for-ever as an actor.

DAMON: [laughing] Don’t put any of this in the article, Nancy.

MURPHY: Do put it in Nancy — but also as a human being, and I’ve told him this so I’m gonna leave it at that, but for a long, long, long, many, many years.

DEADLINE: Cillian, take me back and tell me what clicked for you with Small Things Like These, what made it the first feature you were going to produce?

MURPHY: So, I’d read the book and it really connected with me and I felt I could see it as a film, you know? And miraculously the rights were available and myself and Alan Moloney managed to get the rights and then we were in the process of getting it going along, and then Oppenheimer came along.

I remember Matt and myself were out in the desert on a night shoot, I think it was that big rain scene, and we were sitting in like a bunker at like 4 o’clock in the morning and Matt was telling me about Artists Equity and about what himself and Ben were doing, and it was kind of staggering what they were setting out to achieve.

Then I said to him, “You know, I have this story…” and he said “Tell me about it,” so I told him about it and he loved the sound of it.

Then, I don’t know when you got the script, Matt, but it was quite quickly after that and then it all sort of happened really, really quickly.

Also at the same time, Matt was working with Alan on Kiss the Sky, so there was a kind of serendipity about it and kind of good timing about it all.

DEADLINE: Matt, how good a pitchman is Cillian?

DAMON: It’s pretty easy when he says it’s a Claire Keegan novel and he’s gonna be in it. Now, in my position as somebody who’s like running a studio — quote-unquote — that was kind of music to my ears.

I was watching what Cillian was doing on Oppenheimer, and Small Things Like These was exactly the kind of movie we want to make. What will keep us successful as a studio is going to be making really good things and that’s what we knew this was going to be.

And as Cill said, because I was coincidentally working with Alan already, the whole thing just seemed like kismet and it came together really, really quickly — and they had a great script too, the adaptation was beautiful. Cillian had the director he wanted, it was just very, very easy to get it going.

DEADLINE: Cillian, can you talk a little bit about why the aspect of this dark time in Irish history and the impact it has on your character intrigued you?

MURPHY: When we all talked about the story, it is kind of very specific and set in this town in Ireland in the 80s, but there’s a huge universality to it.

It is about how all these women were incarcerated and locked up and it was this terrible trauma that Ireland is still kind of trying to process, but it’s a very common kind of story in that one person decides to — I don’t even know if he’s doing it consciously or not — sort of call it out and stand up, and we see that everywhere in the world now, at this point in time, and then in Ireland. The reason I think this story resonated in such a huge way is that if it wasn’t you who has a story, it’s your friend that has a story or your cousin or whoever it might be — and Tim, our director who’s from Belgium, there’s similar stories there, and obviously in America there’s all sorts of stories as well.

So we knew that it was very specific, but that was where its universality came from.

DEADLINE: Matt, can you talk me through the collaboration?

DAMON: It was embarrassingly easy for Artists Equity, it really was, and that’s part of the way we’re set up is that we’re not babysitters, we’re facilitators really — and we had a group of really fantastic professionals. It was really about facilitating so they could do their work.

We’ve got a different pay structure, depending on the movie, but what we try to do is make sure that everybody who makes the movie — crew and cast — are participating in the eventual sale and in the profit. So it really becomes about everybody’s own accountability; we don’t need to kind of put out fires or field phone calls cause there just aren’t any. You know, you leave a group like this together that they’ve got a great script, they’ve got an incredible cast and a great director and Alan and Cill, they know exactly how to make it.

We all have to look at the realities of what can we make it for realistically — it’s a period movie, what is the movie and what can it hold? — because we have our eye on eventually selling it, but other than those kind of constraints that exist everywhere in the movie business… We’re not a kind of finger wagging group — the whole point is to partner with people who are great, and clear the deck so they can do their work.

It was really blissful, from our perspective back in America, it was a very light lift.

DEADLINE: Cillian, you’ve told me previously you couldn’t have asked for better partners; that kind of freedom must feel terrific…

MURPHY: Oh, completely and it’s because they’re filmmakers and so you’re working with actual filmmakers and they speak the same language as us and they have such incredible experience in this business and such taste — which I think is sort of an undervalued superpower which these guys have.

The biggest compliment we can say to them is that they let us make exactly the movie that we wanted to make, but we did that completely in tandem, do you know what I mean? As Matt said, there wasn’t any of people calling you in the middle of the night or people arriving on set.

We all shared the dailies, we all shared the cuts and we discussed it, but they knew the script we were trying to make from the beginning so that’s what they got on board with.

DAMON: Yeah, I think that’s the biggest thing is that there’s none of the kind of subterfuge that normally exists with a studio where you’re trojan-horsing in one idea and you’re selling it as another — which happens a lot in our business. With us, it’s just “What do you want to make?” So there’s a lot of trust that I think might be difficult for other people. But, as Cillian says, for people who do what we do, and we all know kind of how to do it, the conversations are just very blunt and that way you end up with no surprises. There was no need for us to go hustling over and babysit their set, they were doing exactly what they told us they were gonna do and that makes everything really go pretty smoothly.

DEADLINE: It’s clearly not always like that…

DAMON: It’s not, but it should be and that’s what Artists Equity is trying to do. We’ve done five movies now and they’ve all been really joyful experiences and that’s by design. You kind of get everything out of the way beforehand so everybody’s expectations are realistic and then you just hold hands and go into it together. And if you do that there really shouldn’t be… there’s always unforeseen issues — I just did a movie with Doug Liman and Artists Equity is responsible for the overages; my salary and Doug’s salary were tied to the overages too. It was a bigger movie, there was a lot of action, and so we just kissed up against the black/red line, we came closer than we wanted to because things happen — you’re still making movies — but by and large we try to give enough of a cushion, if we can, to the budget so that everybody can comfortably operate within it, and more importantly can make exactly the thing that they want to make.

These guys knew exactly what they wanted to do. The book is incredible, the script is fantastic and so there weren’t really any questions — it was really about executing it and we had no doubt they were gonna do that and there were no surprises.

DEADLINE: Cillian had already exec produced three seasons of Peaky Blinders, but this is his first feature producing gig. Did you give him any advice in that regard?

DAMON: [Laughs] He doesn’t need my advice.

MURPHY: Working with Matt on Oppenheimer, we all know what an extraordinary actor he is, but he understands every single facet of the moviemaking machine or apparatus or whatever you want to call it.

I remember at one point we were doing takes and Chris would say to you, Matt, “Just stop trying to help, Damon. Just do the work” (both laugh). Matt would always be like, “What if I come here? I can do this,” because he just lives and breathes it, so that’s very inspiring to see.

While Matt was chatting there, I was thinking himself and Ben have known each other since they were kids and I think that sort of trust and bond is very important and it’s very important to me. Like me and Alan, this is our fifth movie together — we’ve known each other for 20 years.

Myself and Tim, he did Season 3 on Peaky, we’re about to do another movie. Myself and Eileen (Walsh) have known each other for 27 years, a lot of the crew we got in Ireland I had worked with since I started acting. So there was a lot of trust in the process of making this whole thing cause it’s quite a delicate little film and you need to trust the people that you’re making it with.

DEADLINE: Exactly. Cillian, you and I spoke about that last week, and I was going to also ask Matt because he seems to value that too…

DAMON: Among all the things about that actually — and there are a lot of different wonderful benefits of working with the same people repeatedly, professionally and personally — but one of my favorite things is the kind of utter abandonment of diplomacy [both laugh]. Like, when you don’t know people there’s a language that’s been invented to protect everybody’s feelings because it’s a collaborative medium. But Ben and I, for instance, because we grew up together, we just say “You know, that take was terrible, you can’t do anything with that!”

So much of filmmaking is actually just practical problem solving and we couch it in these kind of artistic terms because we’re trying not to hurt one another’s feelings, but oftentimes you can just really cut to the chase and solve the problem quicker if you know and love the person, you can be a little more blunt.

DEADLINE: Let’s talk about Berlin. There’s been an awful lot of controversy surrounding the festival this year with boycotts and protests threatened as the organizers invited members of the far-right AfD party. Those invitations ultimately were rescinded after outcry from artists and the local industry. Do you have any thoughts on the situation?

MURPHY: I would completely support all of those artists and filmmakers that came out and I’m really glad that the festival listened to that petition and also to the mood of the general population in Germany.

DEADLINE: You’ve both been to the festival before, but what does the prospect this time feel like?

DAMON: It’s huge for us that we got that slot, we’re really excited about it. We talked a lot just strategically amongst ourselves about what would benefit the film the most and obviously there are festivals all over the place, but this was the one that we had our eye on because it felt like it should premiere in Europe and like this was definitely the place to do it — and obviously Claire’s work has been made into film and done quite well coming out of Berlin before (ed note: The Quiet Girl) so it seemed like the right place.

DEADLINE: Cillian what does opening Berlin represent for you?

MURPHY: This is the first Irish film to open the festival which is a big deal for us.

People ask me the question, “What is it in the water in Ireland and why is there so many good filmmakers and actors coming out at the moment?” and I don’t really know, I don’t have a proper answer.

Part of it is coincidence, part of it is something to do with our culture and its just a good moment, but I hadn’t made a film in Ireland in a long time, even though I’d moved back there I hadn’t made a film in, gosh, like 10 years or more. For me, the geography of the story is always secondary to the quality of the writing but this just happened to have both and it was wonderful to get back and work with all these amazing cast and crew that we have.

I’m really really happy to be part of whatever moment the country is having in terms of film and actors, I’m thrilled.

DEADLINE: Do you guys hope to, plan to, intend to work together again?

DAMON: [Deadpans] I’m never working with him again.

MURPHY: [Laughing] I promise I’ll go for dinner with you, Matt, this time.

DAMON: In that case, if he actually goes out to dinner with me, I’ll work with him as much as I can.'

[streetsofdublin]

BERNARD VENET NAMED THIS CORTEN STEEL SCULPTURE AS 217.5º ARC x 12 - VIDEO

Video: Bernar Venet (born 21 April 1941) is a French Conceptual artist who has exhibited his works in various locations around the world.

MUSEUM OF MODERN ART DUBLIN Bernar Venet (born 21 April 1941) is a French Conceptual artist who has exhibited his works in various locations around the world. Weathering steel, best-known under the trademark COR-TEN steel and sometimes written without the hyphen as “Corten steel”, is a group of steel alloys which were developed to eliminate the need for painting, and form a stable rust-like…

[cucumberteapot]

Okay, so I've read the Spider-man: Across the Spider-verse artbook, and there is this fantastic passage on Earth-42 that gives context to the dimension, Miles G., Uncle Aaron and the Sinister Six.

“Miles comes face to face with a parallel world version of his own in Earth-42 – an alternate reality where he never gained superpowers and where his Uncle Aaron is still alive. “We wanted to craft this moment where Miles encounters this powerful figure in his life that he loved so much and he lost," says director Justin K. Thompson. “That's when he realizes that he is not really in his own dimension, as well as the gravity of what he has lost. In this reality, Aaron has had to shake off his life of crime and became a surrogate father figure to Miles.”

The artists changed Uncle Aaron's outward appearance to reflect this new reality and convey how he has changed. The Uncle Aaron of Earth-42 has a little gray in his beard. His clothing still has the old “cool streetwear” vibe, but he has a more sophisticated and older look. In this alternate reality, the Sinister Six have been able to flourish and take over the world. “We wanted to create a world where it felt like Aaron and Miles G. Morales [this reality counterpart to Miles Morales] are the only heroes.”

It's a much darker version of Miles' original home. So, we looked at comic book artists who epitomized that sort of noirish world - artists like Frank Miller, Sean Gordon Murphy, John Polygon, where there is heavy use of black and colors sort of recede behind the dark shadows. The powerless version of Miles is still capable and efficient and has great acrobatic and physical prowess. We also needed Miles to feel trapped in this dark world. We wanted to leave the audience with the burning question: ‘How is he going to get home?’ It was just exciting to see the development of this world to underscore all of these narrative choices we were making.”

[rifari2037]

I found this thread on Twitter and it's so refreshing to know that Zutara fandom actually has strong allies.

Zuko - (my captain) Dante Basco

Katara - Mae Whitman

Sokka - Jack de Sena

Toph - Michaela Jill Murphy

Azula - Grey DeLisle

Uncle Iroh - Greg Baldwin

(even) Cabbage Man - James Sie

It's funny because this fact made me suddenly create a headcanon :

Of course Zuko and Katara shipping themselves, they fell in love with each other.

Then almost all the members of the Gaang except Aang (we don't know for sure about Suki) also ship Zutara because they know Zuko and Katara are secretly making out, while Aang denies it because well, you know why…

Sokka as Katara's brother approve their relationship!

Then Uncle Iroh, he must've ship Zutara since stubborn Zuko asked Katara to help him defeat Azula.

Uncle Iroh as father figure for Zuko definitely approve their relationship!

Azula shipped Zutara? She must've known that Katara meant a lot to Zuko, otherwise why would she direct the lightning at her? She know that either Katara would lose or Zuko would sacrifice himself for her.

I can say, that's the way Azula as Zuko's sister approve their relationship!

And the Cabbage Man. This time I didn't expect it. Maybe he really is a Zutara shipper. Maybe he was the one who told the Ember Island player director that the two of them had a special relationship? (I'm making things up this time) 😂😂

Okay, back to Zutara fandom who has strong allies from the ATLA writers too.

John O'Brian (the one who confirming that they talked about Zutara endgame in writing room)

Joshua Hamilton (the one who fight alongside John O'Brian to make Zutara endgame)

I'm sure the list won't end there

I also wont forget that Zutara fandom has great writers and artists with fanarts, fanfics, video edits, meta and analysis, etc., which makes Zutara never boring. Thanks to y'all 💙❤️

They did get canon, but I can still enjoy the victory!

[longwuzhere]

Some cool Easter eggs I caught watching My Adventures with Superman that I want to show to people so they can be in on it with comic book readers

My episode 2 easter eggs and references in My Adventures with Superman post is here

My episode 3 easter eggs and references in My Adventures with Superman post is here

My episode 4 easter eggs and references in My Adventures with Superman post is here

My episode 5 easter eggs and references in My Adventures with Superman post is here

My Episode 6 easter eggs and references in My Adventures with Superman post is here

My Episode 7 easter eggs and references in My Adventures with Superman post is here and here

My Episode 8 easter eggs and references in My Adventures with Superman post is here

My Episode 9 easter eggs and references in My Adventures with Superman post is here

My Episode 10 easter eggs and refences in My Adventures with Superman post is here

My Easter eggs and references in My Adventures with Superman comic issue 1 post is here

My Easter eggs and references in My Adventures with Superman comic issue 2 post is here

My Easter eggs and references for My Adventures with Superman comic issue 3 post is here

(SPOILERS if you haven't seen the show yet):

Lois Lane has a cut out clip of Vicki Vale. Vicki Vale is a journalist in Gotham City. Her first appearance was in Batman #49 (1948) as seen in the panel here (W: Bill Finger, A: Lew Sayre and Bob Kane, I: Charles Paris, L: Ira Schnapp).

Looks like Jimmy is a fan of Legend of Zelda Majora's Mask. Good video game taste.

Jimmy mentions a psychic starfish and the one starfish in the DC universe who is psychic is Starro the Conqueror, who's first appearance is in Brave and the Bold 28 (1960) (the cover art here is done by Mike Sekowsky, Murphy Anderson, and Ira Schnapp) and has the power to mind control people.

Lois, after barging into Perry White's office about a story, mentions Mt. Simonson. This is a neat name drop to Superman: The Man of Steel writer Louise Simonson, one of the nicest comic book writers you'll ever meet. She helped co-create John Henry Irons a.k.a Steel with artist of the Superman: The Man of Steel comic, Jon Bogdanove (really hope we get to see Irons in this show too).

Jon Bogdanove also gets a name drop here as does...

Dan Jurgen, comic book writer and artist on the Superman comic in the 90s (also one of my favorite Superman artists).

Now who are these kids that call themselves the Newskid Legion? Well, they are a VERY deep DC cut and reference to the Newsboy Legion back in the 1940s. The group was created by Joe Simon and Jack Kirby, LEGENDARY comic book creators.

The page here is from Who's Who: The Definitive Directory of the DC Universe #16 (1986) with the art by Jack Kirby and Karl Kesel. Most of the Newskid Legion is named after the Newsboy Legion members

Gabby and Big Words here share names with their Newsboy Legion counterparts as does Flip Johnson...

who shares names with Walter "Flip" Johnson here on the cover of Superman's Pal Jimmy Olson #137 (1971) which was done by Jack Kirby, Neal Adams, and Gaspar Saladino.

Patty, the cartoonist of the Newskid Legion homages this panel from Adventures of Superman #500 (1993) (W: Karl Kesel, P: Tom Grummet, I: Doug Hazelwood, C: Glenn Whitmore, L: Albert DeGuzman), the first appearance of Superboy, Conner Kent/ Kon-El.

But who is the one below that drawing? We'll his name is in Big Word's word puzzle, in the show. It's Jim Harper, the Guardian.

Jim Harper becomes the Newsboy Legion's legal guardian despite their causing trouble for him. The page here is from Star Spangled Comics #7, the Newsboy Legion and the Guardian's first appearance, by Joe Simon, Jack Kirby, and Whitney Ellsworth. You might've seen the Guardian on the recent Young Justice cartoon.

When Lois, Clark, and Jimmy go investigate about the smuggled robots in Metropolis, Jimmy makes a reference to super intelligent gorillas in France. This is a subtle hint at Monsieur Mallah, the Doom Patrol villain who will be in the show along with his partner, the Brain. Both made their first appearance in Doom Patrol #86 (1964) .

The cover art here is done by Arnold Drake, Bob Brown, and Ira Schnapp.

Later in the episode we see Clark receive his powers and he is surrounded with electricity, giving off Superman Blue vibes when in the comics, Superman gained electricity powers and became Electric Blue Superman who's first appearance was in Superman #123 (1997) (cover art by Dan Jurgens, Joe Rubenstein, Patrick Martin, and Todd Klein.

Link to Episode 2 of My Adventures with Superman Easter Eggs and references is here

Link to Episode 3 of My Adventures with Superman Easter Eggs and references is here

Link to Episode 4 of My Adventures with Superman Easter Eggs and references is here

Link to Episode 5 of My Adventures with Superman Easter Eggs and references is here

Link to Episode 6 of My Adventures with Superman Easter Eggs and references is here

Link to Episode 7 of My Adventures with Superman Easter Eggs and references is here and here

Link to Episode 8 of My Adventures with Superman Easter Eggs and references is here

Link to Episode 9 of My Adventures with Superman Easter Eggs and references is here

Link to Episode 10 of My Adventures with Superman Easter Eggs and references is here

My Easter eggs and references in My Adventures with Superman comic issue 1 post is here

My Easter eggs and references in My Adventures with Superman comic issue 2 post is here

My Easter eggs and references for My Adventures with Superman comic issue 3 post is here

[boatmediatourney]

🚢Boat Song Lineup & Links🚢

*links are on the boat emojis. most of the artists listed are specific to the linked versions, and many are folk songs with no single or known author. all the links are youtube links.*

🚢 32 Down on the Robert MacKenzie (Due South), Paul Gross

🚢 A Pirate Looks at 40, Jimmy Buffett

🚢 A Sailboat in the Moonlight, Billie Holliday

🚢 The Ballad of Gilligan's Isle (theme song)

🚢 The Ballad of Harbo and Samuelson, Shanghaied on the Willamette

🚢 The Bonnie Ship the Diamond, The Corries

🚢 Bluenose, Stan Rogers

🚢 Boat on the River, Styx

🚢 Canadee-i-o, Nic Jones

🚢 Come Sail Away, Styx

🚢 Day-O (Banana Boat Song), Harry Belafonte

🚢 Friggin in the Riggin, The Sex Pistols

🚢 Ghosts of Cape Horn, Gordon Lightfoot

🚢 Go to Sea No More, The Dubliners

🚢 The Good Ship Kangaroo, Planxty

🚢 Hard on the Beach Oar, Johnny Collins

🚢 Haul Away Joe, The Eskies

🚢 Highwayman, The Highwaymen

🚢 I'm on a Boat, The Lonely Island

🚢 I'm Shipping up to Boston, The Dropkick Murphys

🚢 James Craig, The Maritime Crew

🚢 The Last Bristolian Pirate, The Longest Johns

🚢 Leave Her, Johnny, Leave Her, Coda

🚢 The Leaving of Liverpool, The Dubliners

🚢 The Little Boat, The Wiggles

🚢 Lord Franklin, Pentangle

🚢 Lowlands Away, The Corries

🚢 Lukey, Great Big Sea

🚢 The Mariner's Revenge, The Decemberists

🚢 Marie Christine, Gordon Lightfoot

🚢 The Mary Ellen Carter, Stan Rogers

🚢 Mingulay Boat Song, The Corries

🚢 Mr. Andrews' Vision ("Titanic: A New Musical"), Maury Yeston

🚢 The Mistress, Dramtreeo

🚢 My Sails Are Set (One Piece live action)

🚢 Orinoco Flow, Enya

🚢 Overture/Prologue/The Launching ("Titanic: A New Musical"), Maury Yeston

🚢 The Pacific, Dave Malloy

🚢 The Pirates Who Don't Do Anything (Veggie Tales)

🚢 Proud Mary, Ike and Tina Turner

🚢 Race to be King, Seth Lakeman

🚢 Rolling Down to Old Maui, Stan Rogers

🚢 Roll the Old Chariot (sea shanty)

🚢 Round the Cape, The Longest Johns

🚢 Row, Row, Row your Boat (nursery rhyme)

🚢 Running Down to Cuba, Colm McGuinness

🚢 Sailing, Christopher Cross

🚢 Sailor's Farewell (sea shanty)

🚢 Santiana, The Longest Johns

🚢 Santiano, Hugues Aufray

🚢 Saturday, Jonathan Eng and Stephanie Hladowski

🚢 Save the Whales!, Country Joe McDonald

🚢 Ship in a Bottle, Fin Argus

🚢 Ship of Fools, The Grateful Dead

🚢 Song for the Bowdoin, Larry Kaplan

🚢 Song of the Volga Boatmen, Soviet Army Chorus & Band

🚢 Son of a Son of a Sailor, Jimmy Buffett

🚢 South Australia, Johnny Collins

🚢 Tow Rope Girls, Daniel Kelly

🚢 The Wellerman (sea shanty), Nathan Evans

🚢 The Wild Cape Horn, Friends Of The Shipyard and Fisherman's Fayre

🚢 The Wreck of the Edmund Fitzgerald, Gordon Lightfoot

🚢 Warlike Seamen, Jerry Bryant and Starboard Mess

[ive-got-you-clovered]

my boredom activity is doing redraws of way old art, so have a couple of old homestucks i did recently! you can tell my designs for the characters have evolved with the art style, lol

(new, then old)

[chipou-art]

Still on a mission from god 😎🫡 I love the Blues Brothers so much it’s unreal (the last ones are prompts from @/jakeandelwoodblues ! As a Blues Brothers fan their blog is like a gold mine to me)