#Brian Butts

[allthatlives]

Brian Moss by Carol Weinberg for Playgirl (July 1988).

[bumzbumzbumz]

Assad Shalhoub by Brian Jamie

[onegiantmeep]

further evidence that emily axford has a magical connection to the dice gods

[egonkula]

been thinking of q impractical jokers lmao

[90smovies]

[handfetis]

#happypride 😛

[deadexclamationpoint]

When are we gonna acknowledge that Gerard was also doing stage gay with Ray. Like they weren't making out or getting as aggressive as Gerard and Frank, but I don't know what else to call it when you gently cradle your guitarist's head and get a fistfull of curls as he leans his head on your shoulder or buries his face in your neck. Or when you pull your guitarist's hair or suggestively kneel down in front of him. Like.

[thetechnicolorphase]

Happy These Nuts day to all who celebrate

[bumzbumzbumz]

Sam Wilson by Brian Kaminski

[thenotoriousscuttlecliff]

Read six issues of Jed MacKay's X-Men and can't get over what an obvious remix it is of Brian Michael Bendis' Uncanny X-Men.

All they need is Emma and join up and it's the new Charles Xavier School all over again.

[shitty-mh-aus]

Au where everyone has a huge ass

(I let my keyboard type that)

RIP to the butts of marble hornets

[angeliknympho]

Brian Jordan Alvarez

[leaveharmony]

@mangle-my-mind

See, I don't know if I can answer this without starting with Brian's reaction TO Jack, and to Curt.

Because I think Brian gets something fundamentally wrong about both of them, filtering them as he does through his own worldview and his own view of music and performance.

That is to say, that he sees a performance.

"I wish I'd thought of it," what is he referring to here, exactly??? During TV Eye, what is he looking at? Curt, dousing himself in oil & glitter, pogoing out of his pants so hard he falls on his ass, and committing some lowkey arson whilst probably tremendously wasted. Brian sees this absolutely raw, unfiltered mess occurring and seems to interpret it as contrived, emotion faked really well for the purposes of credibility. He hears the myths about wolves and shock treatment and the abuse (the latter two possibly true, but still heard first as gossip) and he thinks they originated with Curt, a brilliant piece of marketing, when in reality it's rumour constructed/repeated by people to explain what they are looking at (and do not understand).

And it's interesting that most of what he seems to admire about / openly steals from Jack, is even more hollow: the little entourage, the fashion, the position at court (so to speak). Jack is like...a choice boutique that just got a shipment in, and Brian loads his arms up and runs home to try things on. Because he wouldn't imagine that the bits he stole from Jack had any meaning other than 'It was pretty,' or 'He moved just so, and it was elegant without seeming artificial,' and 'They made me look adored.' Brian understands things like an entitled tourist understands ancient ruins; he doesn't think about the history or the meaning or the reason, he just carves his name in them, takes a selfie and walks away.

Jack - I think one of the reasons Curt is the recipient of that big delighted smile, is that Jack recognizes a kindred in him immediately and has probably been waiting patiently for an opportunity to speak to him (formerly being impeded on all levels from doing so by Brian / his secondhand hangers-on).

I know the idea is that ~Glam~ is artificial and meaningless, but in their case, I simply don't think it's true. I think that Jack and Curt, onstage, that is wholly their authentic selves, I don't think they're faking a damn thing, ~inventing~ a damn thing. They're...exactly the same at opposite ends of the spectrum, if that makes any sense.

Jack holds himself so closely because he's such a beautiful soul that people see him, and those who don't want to outright destroy him, want to cut bits off him to take home for themselves, which would leave him with nothing, at the end of the day. You can see it in his face, that it's happened a hundred times before; this is why he doesn't fight Brian off or give him the satisfaction of an angry reaction...it's nothing new to him. So we see him most open onstage, where he can show exactly who he is without being fucking...punished for it. Where he is even admired for it, but he has control over exactly what he is giving away. Jack channels himself onstage.

And Curt onstage is a fucking exorcism, letting himself off the leash somewhere safe to express what otherwise would come out as a four day bender and a spattering of charges for public indecency, assault and destruction of private property.

Jack reveals himself onstage to keep himself safe, Curt does it to keep everyone else safe, and that is their separate but identical way of coping with a world that has no idea what to do with them in any other context.

[stesichoreanpalinode]

I’m sure I saw this before but I have no memory of it: Under Pressure at soundcheck, Hot Space tour. With bonus Crystal for those who are interested

View this post on Instagram

A post shared by rogertaylor_toutsimplement (@rogertaylor_toutsimplement)

[theredwallrecorder]

Swartt Sixclaw sat closest to the fire. He was a young ferret, but obviously the leader of the threescore vermin who made up the band. Tall, vicious, and sinewy, Swartt had made himself Chieftain, because he was quicker and stronger than any who dared challenge him. He was a fearsome sight to friend and foe alike, his face striped with a sloping pattern of purple and green dye, teeth stained glistening red. Round his neck hung the teeth and claws of dead enemies. His left forepaw bore six claws--it rested on the hilt of a long curved sword thrust through a snakeskin belt.

the introduction of Swartt Sixclaw, from Chapter 1 of Outcast of Redwall

[thorsenmark]

Hoodoos and a View Beyond at Rainbow Point (Bryce Canyon National Park) by Mark Stevens Via Flickr: A setting looking to the north while taking in views across hoodoos and other eroded formations at Rainbow Point in Bryce Canyon National Park. My thought on composing this image was to take advantage of the color contrast between the nearby hoodoos with its reds and oranges along the escarpment edge with that of the greens of the evergreen trees in the lower valley and canyon area. I decided to angle my Nikon SLR camera slightly downward as I felt it better brought out that view to allow the eyes to slowly move across this national park landscape and be drawn into the image.