#it’s a metaphor Brian

[idkwhylou]

𝐐𝐮𝐞𝐞𝐧 𝐦𝐚𝐬𝐭𝐞𝐫𝐥𝐢𝐬𝐭

⊹₊⋆*♫⋆｡★*:｡ೃ࿔*

⊹₊⋆*♫⋆｡★*:｡ೃ࿔*

❝I'm just a musical prostitute, my dear.❞

𝐑𝐨𝐠𝐞𝐫 𝐓𝐚𝐲𝐥𝐨𝐫

“Ready Freddie ?”

⚡︎ Nothing yet

⊹₊⋆*♫⋆｡★*:｡ೃ࿔*

[hannibard]

I think Will Graham's problem is that he's constantly surrounded by only 4 groups of people: therapists, serial killers, cops and dogs. No wonder he ended up like That.

[hogdeploymentzone]

today is the official deadline for BDG to become a beekeeper

[theskyisdown]

Will Graham being fired from the FBI the SECOND he introduces himself like “oh I do work for the fbi including psychological analysis…….PSYCH!!!! ANAL!!!!!!!”

[kandicon]

I do think Brian has an incredibly efficient cooling and temperature regulation system because that's a pretty obvious necessity, but every day that drumbot wakes up and does everything he can to overheat himself

[thebeatles]

The Fifth Beatle: The Brian Epstein Story (2012). Vivek J. Tiwary, Andrew C. Robinson (Illustrations).

The Fifth Beatle is the untold true story of Brian Epstein, the visionary manager who discovered and guided The Beatles from their gigs in a tiny cellar in Liverpool to unprecedented international stardom. Yet more than merely the story of "The Man Who Made The Beatles," The Fifth Beatle is an uplifting, tragic, and ultimately inspirational human story about the struggle to overcome seemingly insurmountable odds. Brian himself died painfully lonely at the young age of thirty-two, having helped The Beatles prove through Sergeant Pepper's Lonely Hearts Club Band that pop music could be an inspirational art form. He was homosexual when it was a felony to be so in the United Kingdom, Jewish at a time of anti-Semitism, and from Liverpool when it was considered just a dingy port town.

[queen-of-wisdom]

For the characters that weren't meant to be a person. For the characters that were made to be nothing but a plot device or a love interest or a vilian. For the characters that could never be the main characters because they are made to be side characters, they aren't made to be more than their one and only purpose. For the characters that were created for nothing but to serve a narrative. It's like loving children when their parents didn't; it's like seeing their potential when their parents saw nothing but a doll to control.

[caelichythcat]

moments of high confidence

[racefortheironthrone]

I’m not too well versed in the comics history, Has there been clear progress made for mutant rights and acceptance in the marvel universe? Like , between the big events and Orchises of the marvel (and real world) setting things back, is there a big difference with how mutants are treated de facto and dejure across the decades since the 60s? Any particular mutant rights milestones?

Great question!

People's History of the Marvel Universe, Week 22: Anti-Mutant Prejudice and Mutant Rights In the Longue Durée

This is a difficult question to answer, because Chris Claremont was very much of the "torture your darlings" school of comics writing, believing that the way to wring endless drama out of your characters was to keep piling tragedy on tragedy on top of them before finally giving them a moment of catharsis. This was especially true for how he handled the mutant metaphor from as far back as X-Men #99, where even when the X-Men saved the day, it would only seem to further fan the flames of anti-mutant prejudice.

That being said, Claremont didn't present an unchanging portrait of anti-mutant prejudice constantly getting worse and worse - after all, the very beating heart of dramatic structure is variation, without which even the most grimdark tragedy becomes numbing and monotonous. So there are definitely key moments in the Claremont run where the X-Men are able to score a victory for mutantkind.

Perhaps the first and most famous instance of the mutants notching a win comes in the climax of God Loves, Man Kills - Claremont's first great Statement Comic about bigotry. After having foiled the Reverend Stryker's plans to exterminate mutantkind by kidnapping Charles Xavier and using a Cerebro-like device to project lethal strokes into mutant brains across the world, the X-Men confront Stryker on live T.V - again, part of Chris Claremont's endless fascination with the power of media to shape our minds that would recur in Fall of the Mutants - fighting him on the level of ideology and rhetoric. Kitty Pryde is able to bait Stryker into attempted murder in front of the television cameras, ending his crusade of hate:

(I'll do a full in-depth analysis of God Loves, Man Kills and how it both codifies and reveals Chris Claremont's approach to the mutant metaphor in a future issue of PHOMU.)

The next big moment of victory I've already written about in PHOMU Week 20, was Fall of the Mutants. In this storyline, the X-Men face off against Freedom Force and the Registration Act and ultimately sacrifice their lives to save the world in Dallas - once again, using the power of rhetoric and media to strike back against discrimination and oppression.

After that, Claremont's next (and arguably last) big victory for mutant rights came in the "Genoshan Saga." (I'll also be doing an in-depth analysis of Genosha in a future issue of PHOMU.) Beginning in UXM #235 and winding its way through Inferno and the X-Tinction Agenda, the fictional nation of Genosha was Chris Claremont's big Statement about apartheid South Africa. An island nation off the east coast of Africa, Genosha seems to be a utopia free of poverty, crime, and disease - but its entire society rests on a foundation of mutant slavery, where mutants are press-ganged, mind-controlled, and genetically-manipulated to serve the human ruling class.

After a series of clashes between the X-Men and the Genoshan Magistrates, the X-Men defeat Genosha's anti-mutant military and their cyborg ally Cameron Hodge. But whereas most superhero comics end with the heroes foiling the evil plan of the supervillain and restoring the status quo, this time Chris Claremont and Louise Simonson went a step beyond the norm and had the X-Men carry out a political revolution that brings lasting structural change - toppling the Genoshan government and abolishing apartheid.

Under the pen of later writers like Joe Pruett, Fabien Nicieza, and (most enduringly) Grant Morrison, the island of Genosha would be refashioned as a mutant homeland, a prosperous and advanced nation of sixteen million mutants ruled by Magneto. (Yet again, a topic for another issue of PHOMU.) Arguably ever since then, the story of the X-Men has been the story of the struggle to restore mutantkind to the position it was in before Cassandra Nova ended the first mutant nation-state, culminating in HOXPOX and the foundation of Krakoa. (A topic we'll be covering next year when FOTHOX/ROTPOX writes the final chapter in the Krakoan Era.)

[rincolonthree]

This post is not a metaphor :]

(I love that song, this is a BDG appreciation post)))

[everysongineverykey]

what the fuck do you mean soul brother is about brian may. what do you MEAN freddie mercury wrote a song about brian harold may that went "he's my best friend, he's my champion, and he will rock you, rock you, rock you, cause he's the saviour of the universe, he can make you keep yourself alive, make you keep yourself alive, cause he's somebody, somebody you can love" what do you mean he just wrote that and then casually told brian may about it in the studio one day and was like surprise! i've written a song about you, but it needs your touch! break out that guitar! what do yuo mean they both wrote songs aimed at each other at least once but brian wrote so many for freddie he can't remember which one he was working on at the time. WHAT DO YOU MENA

[summershandystan]

Not to point out the obvious, but the way the sun is used as a metaphor for happiness consistently throughout the discography just overwhelms me

[livingunderaclassicrock]

went to the bookstore today to find some stuff to read for a project, and decided to drop by the music section.

I don’t think I could’ve created a more apt metaphor for Brian’s place in the history of The Rolling Stones even if I was paid too.

[cherub-bite-mark]

Yall have OCs that are just guys you borrowed from your dreams? Or is that just a me thing?

[whats-in-a-sentence]

If we liken a particle's mass to a person's fame, then the Higgs ocean is like the paparazzi: those who are unknown pass through the swarming photographers with ease, but famous politicians and movie stars have to push much harder to reach their destination.⁹

9. I thank Raphael Kasper for pointing out that this description is a variation on the prize-winning metaphor of Professor David Miller, submitted in response to British Science Minister William Waldegrave's challenge in 1993 to the British physics community to explain why taxpayer money should be spent on searching for the Higgs particle.

"The Fabric of the Cosmos" - Brian Greene

[tenth-sentence]

In fact, this is one of the rare examples in which the metaphor not only captures the essence of the physics but also its mathematical content since, it turns out, the equations governing the baseball's height above the ground are newly identical to Einstein's equations governing the size of the universe.⁶

6. More precisely, the mathematically inclined reader will note that a particle of mass m, sitting on the surface of a ball of radius R and mass density ρ, experiences an acceleration, d²R/dt² given by (4π/3)R³Gρ/R², and so (1/R) d²R/dt² = (4π/3)Gρ. If we formally identify R with the radius of the universe, and ρ with the mass density of the universe, this is Einstein's equation for how the size of the universe evolves (assuming the absence of pressure).

"The Fabric of the Cosmos" - Brian Greene