#Sean Hendrix

[glitter-alienz]

there is a severe lack of mdtbh fanart on here which is sad, here is a sketch i did of robo sean (dw I plan to finish this and make more :3)

[akirateku]

Hope everyone's had a great weekend so far!

Phew, I have a LOT to say about this beautiful show and how amazing the crew is...but for now, here's a dood of one of my favorite friendships from My DadThe Bounty Hunter --Robo-Sean and K.R.L. You can check out these adorable sweet honey-children and learn the true meaning of fun (and MORE) by watching the show on Netflix, now! Please Enjoy🙏🏽✨

[quietfounder]

[alisonstudios99]

Don't talk to me I have a My Dad the Bounty Hunter brainrot (unless you want to talk about it) (please)

Blobby interacting with the kids is something I didn't know I wanted but is now something I NEED

[littleyeety]

I Made The Hendrix Family In Miitopia!

Yep, I Made Terry (Sabo), Tess (Janeera) Lisa And Sean.

I Tried My Best To Make The Miis Look Identical To The Show Designs (Especially Their Skin Tone Shading)

(There is no Access Code for the Miis sadly, I don't have NS online membership atm 🥲)

Bonus Screenshot:

[spacevixenmusic]

Source: My Dad The Bounty Hunter [2023]

[weirdo09]

• sean hendrix icons •

like or reblog to save

[musicmags]

[sheelace]

i've been thinking about the music the 60s Lads would listen to and i've come to a conclusion that they would all love The Doors (Kevin rly likes Johnny Cash too, for obvious reasons)

[aloneandforsakenbyfateandbyman]

When 28-year old B-movie star and photojournalist Sean Flynn disappeared on April 6, 1970, his mother left his apartment untouched for over 20 years in hopes her son would someday return.

He was the son of Errol Flynn and the French actress Lili Damita, yet unlike his father, he was less of a hellraiser and more soft-spoken and introverted, but had an obsession with danger and thrill-seeking just the same.

Sean’s Parisian apartment on the Champs Élysées was sealed by his mother to preserve his memory and remained a time capsule of the 60s until it was opened up after the death of Lili in 1994.

The walls were plastered with images of counterculture figures such as Jimi Hendrix, Che Guevara, and Ho Chi Minh, pictures of Sean travelling around the world as well as skydiving and hunting, copious amounts of taxidermy, a miniature of the Zaca (his father Errol Flynn’s yacht), expensive camera equipment, books, rolls of undeveloped film, psychedelic-patterned ties, unopened mail, and snappy clothing.

Sun Day magazine described the apartment as a “weird mixture of 60s flower power and very gruesome souvenirs” from his stint as a game hunter in Africa.

After moving to Europe to start an acting career and recording a music album, Sean grew bored and went to Vietnam in 1966 to risk his life by becoming a combat photojournalist. His images were published around the world and he helped save an Australian platoon from being blown up by a mine, as well as numerous other brave acts.

Yet Sean’s bravado would cost him dearly when he and fellow journalist Dana Stone disappeared in 1970 after being kidnapped at a military checkpoint near Phnom Penh, Cambodia, after which they were most likely held captive for years and then killed by the Khmer Rouge in 1973.

His mother Lili Damita spent millions of dollars and the rest of her life desperately searching for her son, but it was of no use. Sean’s tragic fate remains a hazy mystery to this day.

[chronicallylatetotheparty]

Gonna ramble a bit about

The Family Dynamics of My Dad the Bounty Hunter

Because I've never seen an animated property handle family conflict like this before.

Let's start with the titular character Terry Hendrix alias Sabo Brok

The first thing we learn about Terry is that he's a space bounty hunter.

The second thing we learn about Terry is that he's separated from his wife Tess because his job gets in the way of being their for his family.

And while Sean is still young enough not to resent his father's absence in his life Lisa is a few years older and makes it clear that she doesn't see her father as dependable.

This is mollified somewhat when the kids find out about his real job but the underlying issues: Terry's lack of communication and willingness to understand his kids. Remains the emotional linchpin of the narrative throughout season one.

When Lisa discovers that her dad's bosses are the bad guys and the person Terry's been tracking isn't a criminal but a rebel Terry doesn't listen. Prompting Lisa to help Vax behind her father's back.

Culminating in an argument in which Terry says that his job is what pays for everything their family has. An understandable motivation for a father. Parents sacrifice so many things to provide for their families.

But the thing is: Lisa is right.

Her dad's job may provide material benefits but at the cost of harming innocent people. And Terry finally decides to start listening to his family.

Then there's Tess, or rather, Janeera's relationship with her own parents. And this is where the family dynamics were really elevated for me.

Because Janeera ran away from her home after the pressure and expectations of an entire planet became too much.

For over a decade Empress Gurira and Emperor Odoman, her parents, didn't know if she was alive or dead.

Janeera leaving hurt them. Hurt them so much even over a decade later their grief is an ever present reminder of her loss.

And they are allowed to be hurt. Allowed to express that to their daughter just as she is allowed to express how stifled she felt when she left. They have all of Doloraam to care for after all.

Here a lesser show would have the daughter lessen her own pain to center that of her parents. But the writers don't do that here.

Janeera's pain is recognized and validated even as she has to confront it in order to move forward.

Empress Gurira even says that she "did not see" Janeera when their actions forced her daughter to flee Doloraam. And she has no intention of repeating that mistake.

I... I don't think I can overstate how important an admission of fault like that is from a parent to a child.

So often in our media and society the children are expected to do all the emotional labor of reconciliation. To forgive and forget when their parents have not shown any understanding of what they did wrong. Promoting toxic positivity over genuine healing.

Even, perhaps especially, when said children are now adults in their own right.

My Dad the Bounty Hunter is about aliens and space adventures yes but more than that it's about broken families finding each other again.

[filmnoirsbian]

Hi !! I was wondering if you had any book recs/favorite books? Things that you think of as inspiration or just plain like? Genuinely curious. <3 im in love with your work btw i spent the other day binging your patreon

Some favorites that deeply impacted me from a young age up into teenagedom: the Animorphs series by K. A. Applegate, Where the Sidewalk Ends by Shel Silverstein, Oddly Enough by Bruce Coville, The Little Prince by Antoine de Saint-Exupéry, Little Sister by Kara Dalkey, The Enchanted Forest Chronicles by Patricia C. Wrede, The Tale of Desperaux by Kate DiCamillo, A Series of Unfortunate Events by Lemony Snicket, The Chronicles of Prydain by Lloyd Alexander, Something Wicked This Way Comes by Ray Bradbury, the Septimus Heap series by Angie Sage, Piratica by Tanith Lee, the Inkheart series by Cornelia Funke, His Dark Materials by Philip Pullman, Holes by Louis Sachar, The View from Saturday by E. L. Konigsburg, Shizuko's Daughter by Kyoko Mori, The Sea-Wolf by Jack London, Walk Two Moons by Sharon Creech, Criss Cross by Lynne Rae Perkins, Everything on a Waffle by Polly Horvath, Surviving the Applewhites by Stephanie S. Tolan, The Last Book in the Universe by Rodman Philbrick, The Adventures of Sherlock Holmes by Arthur Conan Doyle, Fried Green Tomatoes at the Whistle Stop Cafe by Fannie Flagg, The Iliad and Odyssey (allegedly) by Homer, The Táin by many people, Harlem by Walter Dean Myers, Esperanza Rising by Pam Muñoz Ryan, The Wall and the Wing by Laura Ruby, The Lord of the Rings by J. R. R. Tolkein, The Hainish Cycle by Ursula K. Le Guin, Till We Have Faces by C. S. Lewis, The Ethical Vampire series by Susan Hubbard, The Howl Series by Diana Wynne Jones, the Curseworkers series by Holly Black, The Turn of the Screw by Henry James, Lolita by Vladimir Nabokov, The Raven Cycle by Maggie Stiefvater, Frankenstein by Mary Shelley, The Haunting of Hill House by Shirley Jackson, Do Androids Dream of Electric Sheep by Philip K. Dick, Android Karenina by Ben H. Winters, An Autobiography of Red by Anne Carson, Beloved by Toni Morrison, A Stir of Bones by Nina Kiriki Hoffman, the Mistborn series by Brandon Sanderson, Deathless by Catherynne M. Valente, World War Z by Max Brooks, This is Not A Drill by K. A. Holt, Fade to Blue by Sean Beaudoin, Carmilla by Sheridan Le Fanu, The Moth Diaries by Rachel Klein, Leaves of Grass by Walt Whitman, Crush by Richard Siken, Hopscotch by Julio Cortázar, The Hunchback of Notre-Dame by Victor Hugo, Devotions by Mary Oliver, The Picture of Dorian Gray by Oscar Wilde

Some favorites read more recently: The Expanse series by James S. A. Corey, Engine Summer by John Crowley, Lovecraft Country by Matt Ruff, The Princess Bride by William Goldman, Heart Berries by Terese Marie Mailhot, My Best Friend's Exorcism by Grady Hendrix, Reprieve by James Han Mattson, House of Leaves by Mark Z. Danielewski, Sharp Objects by Gillian Flynn, Kindred by Octavia Butler, Reading Lolita in Tehran by Azar Nafisi, Station Eleven by Emily St. John-Mandel, The Crown Ain't Worth Much by Hanif Abdurraqib, The Refrigerator Monologues by Catherynne M. Valente, Convenience Store Woman by Sayaka Murata, Tender is the Flesh by Augustina Bazterrica, The Girl with All the Gifts by Mike Carey, The Girl with the Dragon Tattoo by Stieg Larsson, The Bluest Eye by Toni Morrison, She had some horses by Joy Harjo, Bright Dead Things by Ada Limón, The King Must Die by Mary Renault, Books of Blood by Clive Barker, Rosemary's Baby by Ira Levin, Cassandra by Christa Wolfe

Plays: The Oresteia by Aeschylus, Electra by Sophocles, Los Reyes by Julio Cortázar, Angels in America by Tony Kushner, August: Osage County by Tracy Letts, The Bald Soprano by Eugène Ionesco, The Trojan Women by Euripides, Salome by Oscar Wilde, Girl on an Altar by Marina Carr, Fences by August Wilson, The Glass Menagerie by Tennessee Williams, M. Butterfly by David Henry Hwang, Our Town by Thornton Wilder, Sweeney Todd by Christopher Bond

Graphic novels: The Crow by James O'Barr, DMZ by Brian Wood and Riccardo Burchielli, Eternals (2021) by Kieron Gillen and Esad Ribić, Watchmen by Alan Moore and Dave Gibbons and John Higgins, My Favorite Thing is Monsters by Emil Ferris, Maus by Art Spiegelman, Tank Girl by Alan Martin and Jamie Hewlett, Persepolis by Marjane Satrapi, Through the Woods by Emily Carroll, Anya's Ghost by Vera Brosgol

[strictlyfavorites]

Sean Connery3

paul newman - Hustler

Neil Young at a Warner Bros party in Hollywood; captured by Brad Elterman (1977)

Sophia loren in the mid 50s enjoying a nice game of pool

Jayne Mansfield pool

The Hustler 1961

Ocean’s 11 (1960)

Pool Parlor, 1942, Jacob Lawrence

The Color of Money

Le Roy Neiman - Bunnies Playing Pool

Maurice Gibb Bee Gees billiards iconic RIP icon

dean martin pool

Diesel Calls the Shots

Jimi Hendrix shoots pool at the Bel Air home of John and Michelle Phillips in Los Angeles, California, July 1, 1967

[diceriadelluntore]

Storia Di Musica #314 - Susan Tedeschi, Live From Austin TX, 2004

Le storie di chitarre femminili di febbraio volevano sviluppare, lo ricordo per questo ultimo appuntamento, una questione che avevo sentito per radio (ho recuperato pure i particolare): durante la trasmissione Morning Glory di Virgin Radio, condotta da Alteria, alla domanda "quale sarebbe il tuo mestiere dei sogni" una giovane ascoltatrice scrisse "diventare una famosissima chitarrista, perchè non c'è ne sono". Alteria, che è anche musicista, ha subito cercato di smentire, ricordando Sister Rosetta Tharpe, la grandissima blueswoman e cantante gospel degli anni '30-'60 del 1900. Tuttavia, e alla fine di questo percorso che è sempre anche un'occasione per imparare qualcosa di nuovo, sono arrivato alla conclusione che, dal punto di visto della fama e della riconoscibilità, aveva ragione l'ascoltatrice, non c'è mai stata per gli indicatori appena descritti una chitarrista riconoscibile come Hendrix, Blackmore o Jack White, per citare tre chitarristi di epoche differenti. Allo stesso tempo, non vuol dire che non ci siano state chitarriste tecnicamente e musicalmente eccezionali, e le scelte di Febbraio 2024 sono solo un antipasto di un viaggio che lascerà deliziati chi vorrà continuarlo. Per concludere la carrellata, oggi vi porto a Norwell, Massachusetts, dove all'interno di una famiglia di origini italiani, i Tedeschi (che sono facoltosi, proprietari di una famosa catena di supermercato in tutto lo stato) nasce nel 1970 Susan. Sin da piccola è un prodigio nelle recite e a sei anni ha una piccola parte in un Musical itinerante che una compagnia locale porta in giro nella contea. Cresce in mezzo ai dischi, e per quelle strane ascendenze del gusto, si appassiona ai ritmi e alle atmosfere del blues. Susan Tedeschi frequenta il Berklee College, come Emily Remler (la prima protagonista delle storie di Febbraio) e si specializza in canto gospel e a 20 anni si laurea. Ne ha pochi di più quando fonda la prima Susan Tedeschi Band, con Adrienne Hayes, Jim Lamond e Mike Aiello che, dopo una fondamentale gavetta nel locali di Boston e dintorni, vengono notati da un musicista e produttore, Tom Hambridge (che vincerà nella sua carriera 7 Grammy Awards), che li mette sotto contratto per la piccola etichetta Tone Cool e produce il primo disco, che per scelta sua vedrà a luce solo a nome Susan Tedeschi: Just Won't Burn del 1998 è un grandissimo debutto, con la seconda chitarra di Sean Costello (uno dei più grandi talenti chitarristici di quegli anni, stroncato a 28 anni da complicanze della sua dipendenza dalla droga) che ha due hit da classifica in Rock Me Right e It Hurt So Bad, scritte con Hambridge. Il disco venderà tantissimo per un disco blues di una piccola etichetta, 500 mila copie, e porterà Susan Tedeschi a suonare per gente come John Mellencamp, B.B. King, Buddy Guy, The Allman Brothers Band, Taj Mahal e Bob Dylan. Nel 2003 apre quasi tutti i concerti americani del Licks Tour di un certo gruppo inglese, appena arrivato ai 40 anni di attività, i Rolling Stones, acquisendo una fama crescente, anche per le sue meravigliose qualità artistiche, che penso si esprimano al meglio nel disco di oggi.

È chiamata, per la terza volta, ad esibirsi per l'Austin City Limits, uno dei programmi musicali più famosi degli Stati Uniti, che trasmette un concerto dal vivo di 60 minuti sui canali della PBS, che è la televisione pubblica negli USA. Insieme a lei, William Green all'organo Hammond, Jason Crosby alle tastiere, violino e ai cori, Ron Perry al basso e Jeff Sipe alla batteria. Live In Austin TX esce nel 2004 ed è un delizioso esempio di classe e maestria musicale: la chitarra e la voce di Susan giganteggiano, senza mai strafare, ma lasciando evidenti tocchi di bellezza (tra l'altro vi invito a fare caso alla differenza che ha la sua voce quando canta e quando, quasi timida, ringrazia con un Thank You gli applausi). E la sua chitarra è una espressione di questa dolcezza: mai ossessiva, ma affilata e precisa, con assoli eleganti e morbidi, accompagnati da inserimenti degli altri strumenti. In scaletta pezzi del suo repertorio solista (It Hurt So Bad, la sofferta I Fell In Love, Wrapped In The Arms Of Another), altri scritti per lei (The Feeling Music Brings dal futuro marito Derek Tucks) ma soprattutto una meravigliosa collezione di cover, dove viene fuori il suo canto di impostazione gospel e tutto il suo talento: You Can Make It If You Try di Sly And The Family Stone, Gonna Move di Paul Pena, Alone di Tommy Sims (che produsse Streets Of Philadelphia di Bruce Springsteen), Love's in Need Of Love Today di Stevie Wonder e un suo cavallo di battaglia, sia su disco che dal vivo, Angel From Montgomery di John Prine, che è così strettamente identificata con Bonnie Riatt, altra grandiosa cantante e chitarrista, il cui testimone è preso da Tedeschi in questo senso. C'è il soul di Voodoo Woman di Koki Taylor, uno strumentale meraviglioso come Hampmotized e c'è la cover più bella e sentita di Don't Think It Twice, It's All Right di Bob Dylan: la versione originale del grande di Duluth era basata su un folk tradizionale, Who's Gonna Buy You Ribbons When I'm Gone?, e riprendeva un verso da una rielaborazione dello stesso brano fatta da Paul Clayton, che rititolò il brano Who's Gonna Buy Your Chickens When I'm Gone. Il brano ha una leggenda in sé: si dice che fu scritto da un giovane Dylan (il brano fa parte del leggendario The Freewheelin' Bob Dylan del 1963) preoccupato e "geloso" del fatto che la vacanza della sua allora fidanzata, Suzie Rotolo (che è la ragazza che appre nella copertina dello stesso disco a braccetto con lui), in Italia si stesse allungando troppo, immaginando quindi come sarebbe stato raccontare un litigio. In realtà come scrisse Nat Hentoff nel libretto originale (Hentoff è stato critico musicale del Village Voice per 51 anni) è probabilmente il primo degli innumerevoli "discorsi con sè" di Dylan, "un'affermazione che magari puoi dire per sentirti meglio… come se stessi parlando da solo". l'arrangiamento slow blues di Tedeschi è fantastico, con il violino e l'organo Hammond, e diventerà per anni uno dei momenti più attesi dei suoi concerti.

Concerti che saranno sempre il fulcro principale della sua attività, soprattutto dopo l'incontro, prima sentimentale e poi artistico, con Derek Trucks, altro chitarrista formidabile, erede della dinastia Allman Brothers, con cui formerà dal 2010 una Tedeschi Trucks Band, vincendo nel 2012 un Grammy con il disco Revelator. Una grande artista e un'altra grande chitarra da scoprire.

[alisonstudios99]

Drawings i made for my friend, @flowerguy4ever ! The first is a hc we both made while brainstorming and the second is their humanized oc, carmen!

[firstpersonnarrator]

Review: Robert Sheehan in Withnail & I

Dynamically staged and energetically performed adaptation

Source: TheStage .co.uk (X)

��Adonis Siddique and Robert Sheehan share a sweet, bickering energy, their obvious affection for each other taking the sting out of their constant arguments… Sheehan infuses sozzled, self-loathing aristo Withnail’s every iconic line with bumptious theatricality. All plummy-voiced deliveries and huge, arm-flailing gestures, he is self-consciously funny, putting on a flamboyant act to shock or amuse onlookers.”

“Relating the misadventures that befall a pair of luridly alcoholic struggling actors during a wet weekend in the Lake District, Bruce Robinson’s brutal black comedy Withnail and I quickly became a cult hit after its 1987 release. Wallowing more in nostalgia than drug and drink-induced dissipation, this cheerful stage version – adapted by Robinson and directed by Sean Foley – follows the original beat for beat. All the most quotable moments are intact, frequently drawing cheers from the clued-in audience. But it all feels safe and somehow sanitised, lacking the scuzzy charm and reckless momentum of the film.

“Stepping into iconic roles originated by Paul McGann and Richard E Grant, Adonis Siddique and Robert Sheehan share a sweet, bickering energy, their obvious affection for each other taking the sting out of their constant arguments. As Marwood (the story’s unreliable narrator and the ‘I’ of the title), Siddique is gentle, wary and sometimes intensely paranoid, visibly uncomfortable in his own skin. Opposite him, Sheehan infuses sozzled, self-loathing aristo Withnail’s every iconic line with bumptious theatricality. All plummy-voiced deliveries and huge, arm-flailing gestures, he is self-consciously funny, putting on a flamboyant act to shock or amuse onlookers.

“Malcolm Sinclair handles the role of Withnail’s wealthy gay uncle Monty with delicacy, convincingly reframing the character as desperately lonely rather than as an overt homophobic stereotype. His aggressive pursuit of Marwood is played off as a farcical, faintly sad misunderstanding, rather than the act of a sexual predator.

“Foley’s staging is vigorous and inventive, smoothing off the story’s rougher edges with a high-tempo pacing and a fun, flippant tone. Every scene ends on a familiar punchline, and the talented actor-musician ensemble inject even more energy with live accompaniment, breaking into driving Hendrix riffs and groovy snatches of the Doors and the Kinks.

“Much of the production’s dynamism comes from Alice Power’s extraordinary set, which shifts between locations with breathtaking speed, from seedy pubs to a mouldering Camden bedsit to a Penrith tearoom. At one point, Power even smuggles in a battered old Jaguar, making precise use of sliding screens to conceal the quickest of these changes, while props and furniture glide through hidden doors. Seamlessly integrated video and lighting from Akhila Krishnan and Jessica Hung Han Yun respectively paint winding country roads and miserable London tower blocks, while psychedelic effects ripple across the walls in queasy tones of velvety purple and lime green.

“It all rattles by at breezy pace, and although the play lacks the acidity and bite of the film, this remains an entertaining, satisfyingly skewed sitcom packed with eminently quotable lines that will linger in your head like an unshakeable hangover.”