#you cant see him but ive started a brian just off camera

[starshoteyes]

Saw sketch requests!! Can i pls pls pls ask for a Tim Wright??

Or or, Alex Kralie??

Anyways your art looks extremely edible in the best way possible /pos

My boyfriend and I are actively watching Pacific Rim but here's an Alex and Tim ! Alas my style fluctuates a ton when I do studies like this but we vibeeee

(I'm currently trying to figure out how to draw all these nerds and practice w new paint pens bc I haven't done traditional art in forever lmaooo)

[shhh-no-ones-home]

model citizen ricky horror x reader

+++++++++

college au

prompt: Character A sitting in a college 7am lecture and Character B sitting next to them pouring an energy drink into their coffee and says, "I'm going to die." (First interaction)

Song: pretty little distance by as it is

tag list: @musicsexandpizza69 @svintsandghosts @theoneandonlykymberlee @alilpunkrock @cynic-spirit @thisplace-ishaunted @lifeisabitchandsoareyou @xyours-eternallyx

+++++++++

i walked into the room and huffed as i took my seat, reaching into my bag for my notebook and a pen. i hated having a 9am again and missed being able to sleep-in like i did last semester. this was the first day though and i was hopeful my mind would change about it as the course went on. it probably wouldnt though. i sat there, catching a few more students walk in as i looked down at my phone.

nothing was too exciting yet and the teacher hadnt even shown up. i was more-so ready for the new art class though. it was my major after all and i was pretty well known by the professors at this point. as i sat there, a loud clatter grabbed my attention, making me look to my right. there was sat a shorter, skinny kid, with long inky black hair tucked under a beanie. my eyes went wide as he cracked the monster in his hand open, pouring it into his half=full trenta cup from Starbucks. he looked over at me and smiled.

"im going to die."

he said in the most sure-fire tone before putting the lid back on the cup and chugging it. i sat there in horror staring at him.

"are you okay?"

i asked and he shrugged, looking at me over the top of the cup. he had the bluest eyes i had ever seen, even in the low light of the art room. i was a little start struck for a second before shaking myself out of my daze, watching him put the cup down against the desk with a thud.

"if i pass out during class just push me out of the way and ill figure something out later."

he said, turning forward. i went to say something just as the teacher walked in.

"y/n! good to see you back. we missed you last semester."

professor crane said, looking to the student teacher as he ducked behind him and paced quickly to the front desk. his gaze followed him too before he shrugged and turned back to me with a smile.

"whatever, im sure he missed you too. but either way its good to have you back in class and i look forward to seeing what you come up with for the showcase in march."

i nodded with a smile before he walked away to the front of the class, instructing everyone to take their seats.

"you come here often?"

i heard from the kid next to me, hearing him laugh to himself as he took another drink of his coffee/monster concoction.

"yes, actually. im an art major."

i said a little dumbfounded. he nodded.

"cool, im here for film."

i drew my brows.

"youre doing film?"

i asked and he winked at me, looking to Brian as he turned the projector on. i opened my mouth before closing it quickly, feeling a little more confused than before.

"alright, first things first. i only make a syllabus because administration says i have to. the schedule is shit and we will most likely be doing something completely different so i suggest you keep a planner or something to keep track of your assignments. secondly, i will get to it later but i want you to start thinking about your projects for the spring showcase in march. we have a few short months so after you learn the basics of form you will be instructed to sketch something in your own style and present it to the board."

my mind went in and out after that, trying to catch quick glances at the kid next to me without being suspicious. every time he moved i could feel my heart pulse, giving me anxiety that he could actually pass out or something.

"y/n, your partner for this project will be mr olson."

brian said, standing over me and looking between the two of us. i nodded with wide eyes as he moved to the two kids behind us.

"guess that means we have pretty high chances at getting an A."

he said, raising his cup in cheers. i looked down at the assignment sheet, grazing over it and groaning. we had to come up with a comic strip in different style parts; the first panel a base sketch, the second panel a hard sketch, the third panel color blocking, and so on. god this was gonna be a nightmare.

"you dont seem too enthused."

the kid said amused. i sent him a testing look.

"im not, ive done something similar before and you have to get every step just right or they take points off. and we have to prove what parts we did."

i said, rolling my eyes. i looked over to him, blinking as a camera flash went off. i drew my brows as he looked down at the screen on it.

"where did you even get that?"

i asked, trying to inspect him. he sent me a smile.

"i always keep it on me. im ricky by the way, and you look great."

he said amused and i breathed deeply.

"y/n."

i said, looking back to the paper.

"well y/n i think this is going to be a great partnership-"

"alright!"

brian called, cutting him off.

"you have your assignments. i have nothing else for you today so you are welcome to either stay here and work until class time is over or you can leave and work on it on your own time. i dont really care either way, just get it done."

i hummed to myself before stuffing my notebook and the assignment sheet into my bag and standing up. i caught a glimpse of ricky starting at me with wide eyes as i turned to leave.

"what are you doing?"

he asked and i looked between him and the door, pointing at it.

"leaving, its not due for another week."

i started off, hearing him shuffle around before chasing after me.

"hey wait! cant we like plan what we're doing or something?"

he asked and i shrugged, looking over to him as he tried to put his paper in his backpack and hold the camera and cup of coffee. i stopped, staring at him as he struggled. i rolled my eyes, taking the cup and the camera from him. he looked to me in shock and i raised my brows.

"get to it, i dont have all day."

i said and he finished what he was doing, zipping his bag up and slinging it over it shoulder. i handed him the cup and camera back and kept walking.

"so uh, what kind of thing did you have in mind for this project?"

he asked and i looked to the sky, squinting but trying to think as we made it outside.

"i dont know, maybe a ball of some kind?"

he raised a brow, shuffling his feet as he tried to keep up with my long strides.

"like masks and large dresses?"

he asked and i nodded, opening the door to dinging hall.

"something like that yeah."

he nodded as i led us to a table.

"that sounds cool, i could get behind that."

i sent him a knowing look.

"you seem like the kind of guy who would."

i said, pulling my sketchpad out. he raised a brow, sitting beside me.

"whats that supposed to mean?"

he asked and i sent him  a look.

"im assuming you like vampires, and the Edwardian thing usually goes hand in hand with that."

he sent me a nervous smile.

"is it that obvious?"

he asked, rubbing his hands against his pants. i nodded.

"thats okay though, cause i like them too. so much so that i have costumes already, we can pose for each other. i think youd look great in this."

i said, sliding my phone across the table to show him the outfit i had for it. i just hoped it would fit him.

"you seem like youve been planning this for a while."

he said through a laugh and i shrugged.

"i just like to feel fancy, the projects on the other hand kind of fall into my lap."

i said, flipping through a few pages in my book. he placed his hand on one before taking it from me and looking over it.

"this looks insane."

he said and i looked around awkwardly.

"in a good way?"

i asked, finding his gaze.

"oh! yeah! of course in a good way. it looks super cool. i see why you wanted to do the ball thing now."

he commented, noting the sketch i had done already that was similar. it is what i was used to after all. he set the book back down in front of me and sent me a wide smile, picking his camera up and taking another picture of me.

"why do you do that?"

i asked and he laughed.

"i need models for my art and i think now that we've met you would be a great subject."

i set him a look, trying to hide the blush creeping its way up my neck.

"you really think so?"

i asked bashfully and he nodded.

"oh yeah, absolutely. and now that we're partners i think it will give me ample opportunity to find a new muse. you wanna be a subject for a music video?"

i sat back, a little taken aback.

"you want me to do what?"

i asked and he laughed, putting the camera on the table.

"in about a month my band is gonna need some girls for a video but its cool if not. i can live with us just being art project partners."

i cleared my throat, rubbing my hands together under the table.

"how about we get through this first and ill get back to you on that?"

he smiled knowingly at me, raising his coffee to me in cheers.

"sounds like a plan to me."

[angrylizardjacket]

when i said it i thought it was true [3] {Ben Hardy}

A/N: 2973 words. Fake Dating AU.

[part 1] [part 2]

Roger Taylor has barely spoken two words to you since the start of filming, and it’s caused you so much anxiety. Were you disappointing? Did you not look or act accurate enough? Sometimes you catch him watching you when you’re with Ben, the two of you in costume, and he just looks... pensive. 

Brian’s nice enough, soft spoken and always kind when he speaks to you, actually mentions that seeing you and Ben together makes him a bit nostalgic, and you’re not quite sure what to make of it. 

The day you see the real Amanda, the woman you’re playing, you feel like you’re about to pass out. It’s as if you’ve got a direct look into your future, she could be your mother, though her hair’s just a little lighter than yours, hence the wigs they keep putting you in. She’s incredibly beautiful for her age, but that’s not the most striking thing about her. She cries the first time she sees Rami in costume, and she doesn’t speak to Roger. 

The moment she meets you, she has to take almost a full minute, hand covering her mouth as she looks you over. It’s like a test, and all you can do is stand there awkwardly in full costume, watching as she tears up a little.

“What do you think?” Brian asks with a proud smile, and she lets out an incredulous laugh. “It’s a little uncanny, isn’t it?” Nodding, she approaches you, smiling brightly and greeting you warmly. 

“Feels like I’ve gone back in time.” She’s surprisingly soft spoken, and she tugs at your collar, straightening it, before she rests her hands on your shoulders. “I’m flattered they’ve got you playing me, dear.” She tells you, and you think you might cry.

She only stays on set for about a week, the week you’re filming on the Garden Lodge set. The two of you are talking before filming starts for the day, you’re trying to glean any information you can that would help bring depth to your character, and Ben joins you. It’s the first time she’s seen him in full costume, and when he presses a kiss to your temple in greeting, her voice dies in her throat. Ben looks confused, concerned as she has to excuse herself.

It keeps happening, something about seeing the two of you in costume, together and sweet, it’s something she can’t stomach. She can talk to Ben normally, even when in costume, but the moment you arrive, and he smiles at you like he does, she feels her heart in her throat.

“I loved Roger, perhaps to my detriment.” She admits, taking a long sip of wine. She’d invited you out to dinner with her before she has to fly back to her family. “And I know what they’re saying in the movie, but he never really loved me.”

When you go to Ben with this information, he’s quiet, before he admits that Roger told him that when they were younger, their relationship was far from the sanitised version that was being presented in the film. 

They’d been together for years, and there was no doubt in anyone’s mind that she loved him, and he took her for granted, always assumed she’d be there when he got back from trips and tours, he’d even proposed to her, and yet he’d do any pretty young girl while he was away because he knew he could get away with it. He’d cheated on her, and lied to her, and strung her along because it was easier than letting go. 

Roger Taylor can’t bring himself to speak to you; you’re the spitting image of his biggest fault. Perhaps the way they’ve got it in the movie is his attempt at an apology, not that she’d accept. 

Something about your relationship with Ben changes after that. It doesn’t feel like a performance, the way it used to, it feels more grounded. Neither of you are sure how to deal with the new information, but when the cast go out for dinner together, he’s got a hand on your knee under the table, and when you’re hanging out in his trailer between scenes, you let yourself fall asleep against him where you’re watching Netflix. The two of you go out with some of the others for the night, and he kisses you as you’re leaving the club together, his hands holding your face so softly, the kiss so surprisingly tender that you don’t even hear the click of the paparazzi’s camera from where they’re hiding around the corner of the building, and when you see the kiss on instagram the next day, you don’t think you care.

“Have you seen my nice, black blouse?” You called, elbow deep in a pile of clean washing on a Saturday morning.

“Which one?” Ben calls back from the shower, and you frown at the clothes before you; you really had meant to fold them sooner.

“The nice nice one, the one I wear for callbacks, you know the one I’m talking about.” And you move to rifle through the closet again, glaring at each piece of clothing as you flip past it.

“You sure it’s here?” The shower shuts off while you’re eyeing off a perfectly fine cream shirt that could serve as a decent replacement if you came to it. “Are you sure it’s not at your place?” He asks, stepping out of his adjoining bathroom wearing only a towel.

“No, I’m pretty sure I came back here after my last callback.” You mused, and you could hear him getting changed behind you as you tried to recall the last time you’d found yourself in the shirt in question.

“This would be easier if you just lived here.” He muses, letting the statement hang in the air. After a beat, you turn to look at him, brow creased as you considered his words. “If you want to, you can.” He offered, standing there in just a pair of jeans, his hair still damp. It might be the most beautiful thing you’ve ever seen.

“Are you serious?” Voice quietly hopeful, your expression brightens as he nods, grinning. Blouse forgotten, you cross the room in a few paces, throwing your arms around him. “Really really?”

“‘course I am.” He doesn’t tell you he loves you, but it’s there in the tone, in the way he kisses you, and it’s there when he spends the next twenty minutes helping you look for your shirt, though when you admit you don’t need it for a few days, he suggests breaking in the bed to fill the time.

“It’s the same bed.” You laugh as he flops back on it, coaxing you over.

“Yeah, but it’s ours.”

The wrap party for Bohemian Rhapsody is... a lot. It’s a bit overwhelming; you’re by Ben’s side and everyone wants to talk to him, congratulate him, and they want to talk to you, tell you how beautiful you look. Everyone is everywhere at all times, and the only constant is Ben. 

His arm is around your waist when the two of you are standing by the bar, he’s chatting to someone who’s name you’ve forgotten, though you’re pretty sure he’s the second assistant director or something, and you’re trying to communicate to the bartender what you want over the music, leaning over the bar. The moment the bartender finally nods in recognition and scurries off to get your drink, Ben turns, sees your eyes shining bright in the light of bar, and he forgets what he’s saying, just for a moment. The guy he’s talking to leaves, pulled away by someone in the crowd, and you turn, smiling brightly, confusion creasing your brow when you see Ben watching you.

“What?” The bar is in a terrible location, far too close to the band they’ve got set up, but Ben can read your lips well enough in the bar’s fluorescent lights. He shrugs, doesn’t even attempt to answer as the band, not ten feet away, blast their way through a guitar solo. They’re mostly playing classic rock, a few Queen songs here and there of course, and they’re not bad, they’re just loud. 

With your drink in one hand, you take his without thinking, weaving through the crowd, his fingers linked with yours. When you find the door to the courtyard, which is significantly quieter, you feel like you can breathe again. The air outside is cool, and you drop Ben’s hand now that you’re not likely to lose him in the crowd, and the two of you find seats to the side by a tall table. 

“You don’t have to stay with me all night.” You tell him, resting your head on your arms, watching as he lights up a cigarette. It was a filthy habit, but damn if it didn’t make him look a hot. Hotter. 

“I know that, dude,” he pauses, taking a draft and looking, watching all the people talking and laughing and bopping along to the music, “I like your company.” He says it easily but it still has you grinning, and when he catches sight, he grins in return.

He doesn’t leave your side. Not for the rest of the night. 

Photographs are being take all night, and when you look back on them, you see you and Ben sitting side by side, his arm around you as you lean into him, laughing, and he grins at something off camera. You see the cast together for a group shot, all smiling brightly, most a little tipsy, and you’re holding Ben’s hand, your linked fingers just visible in a gap between Allen and Lucy. You see the two of you in the background of a shot of Rami looking absolutely ecstatic; you’re fixing Ben’s hair, and he’s giving you such a soft, endeared look that you hadn’t noticed at the time. If you crop it enough to make it your phone background, you don’t feel the need to call attention to it; for reasons you can’t quite articulate, it makes your heart warm.

It’s strange, and the thing that terrifies you is that it doesn’t feel like acting. It’s that grey area you keep finding yourself in, where it feels so familiar, and it’s like swimming upstream to remember that it’s all fake. 

The two of you don’t even share a kiss, not even when you’re both tipsy, not even when you lean in to murmur something in his ear, and his answer brings his lips inches from yours. You want to kiss him, to forget that it’s all fake, but he sees you hesitate, and presses a gentle kiss to your cheek. Lips twisting in to a sad smile, you look out at the crowd of coworkers around you, dancing where the band had been replaced with a DJ, and you take another sip of your drink.

You’ve passed tipsy and dived straight into being drunk by the time you’re ready to head home, or well, back to your hotel room, but that required a taxi. Ben’s not much better off, and when you tug him into the back seat with you, he doesn’t argue. He’s the one who tells the driver the hotel they’ve got you all set up in, and you just lean against him, eyes fluttering closed, contentment filling you as he wraps his arm around you. 

“I don’t have any makeup wipes!” You gasp into the silence of the hotel elevator. It feels like the most natural thing in the world to head to his room, your arm tucked into his to keep you from swaying in place in the elevator. It might also be that Ben refused to let you be by yourself after you almost face planted getting out of the taxi.

“I’ve got some in case of emergencies.” He assured, fidgeting with his key card before the elevator comes to a stop.

“See, this is why I love you.” The words come so easily that neither of even catch at first as you make your way down the hall. Ben slows once your words have sunk in, and you both realise what you’d said. “I didn’t mean it like that, I’m sorry.” Voice quiet, there’s a sudden sinking sensation in your chest that dampens the whole night for you, but he doesn’t say anything, just opens the door and starts rummaging through his suitcase for the wipes once he’s inside. Once he tosses them to you, he follows it quickly with an oversized shirt to sleep in. 

There’s a solid five minute argument about who would sleep on the sofa, both of you trying to give the other one the bed. It takes you yanking a pillow from the bed, laying on the sofa and refusing to move for Ben to concede defeat. The sofa, however, is the single most uncomfortable piece of furniture you’ve ever had the misfortune of trying to sleep on. Sucking up your pride, you clutch the pillow to your chest as you make your way to the edge of the bed. He’s turned away from you, engrossed in his phone.

“Ben?” You ask, and he looks over his shoulder at you, eyebrows raised in question. “The sofa is really uncomfy.” You pouted. With a grin, he shifted, making room for you.

“Holy shit.” Ben looks like he’s just seen a ghost. The two of you are in a nice restaurant in the city, it’s not five stars or anything like that, actually it happened to be your favourite little hole-in-the-wall restaurant with surprisingly good food and excellent service, and you were treating yourselves to a night out before Ben had to step outside to take a call. You didn’t begrudge him, that’s just how life was for the two of you. “Holy shit.” He repeated, and you looked up from your meal with raised eyebrows. 

“What’s up?” You ask, and to see the smile spreading slowly over his face has your heart warming. When he meets your eyes, he’s beaming.

“I think I’m going to be in X-Men.” He said quietly, and your fork fell from your hand, clattering against your plate.

“Holy shit.” You echoed, and he laughed a little, taking your hand when you offered it to him, squeezing gently. 

The stars seem to shine a little brighter as Ben beams up at them, your hand in his as the two of you walk home. Sure, there’s paperwork, nondisclosure agreements, rehearsals, and a few months until filming actually begins, but Ben’s landed a role in a high-budget action movie, and you’ve never been prouder. 

He spends the next few weeks in countless meetings, almost constantly in and out of phone calls with his manager and various producers, and when he’s not filming with Eastenders, he was usually training. He’s barely home, though neither of you are home a lot, you’re busy with your own projects, but when you see each other, he’s elated. You haven’t seen him this excited or motivated about a project before. 

Sometimes you miss him. Of course you miss him, you love him after all, he’s your boyfriend and your housemate, and you tell him all of this over dinner and he looks like he wants to say something, like he wants to freeze this moment in time forever, to bottle it up if he could.  You’re so proud, and you love him so much, and it’s the most beautiful thing in the world to watch those two parts of you coming together over a microwave dinner.

In the weeks leading up to filming, things change, and you feel like you never see him anymore. It’s not like before, then you were just busy, now he’s all over the country, in meetings and fittings and workshops. He calls, but your bed is so empty and sometimes you just want to come home to him and he’s not there, and he won’t be home until the end of the week. Things are still good and bright when you see each other - he’s always eager to make up for lost time - and you never once doubt how much he cares about you, but you feel... out of sync. 

The two of you had fallen asleep not facing each other, but you wake with his arm draped across you, and it feels so familiar, so right, that it stings when you actually come to and realise where you are. 

It’s been years since you’d woken up next to him, and you’d forgotten how pretty he is in his sleep. Part of you thinks that’s a good thing, that if you start to remember now you might keep dwelling. Another part of you urges you to go back to sleep; pretend or not, you should savour this moment you’ve missed so dearly. That’s the part that wins.

You expect when you wake again, for him to already be up and moving, as far away from you as possible, but instead you hear a sleep-rough greeting in your ear, and feel his chest firm against your back, his arm still around you where you’ve tucked yourself against him.

It’s not pretend, it feels like history repeating itself, and so you let yourself forget it’s fake for the moment, lean into him just a little and give a sleepy greeting back. Your heart already aches knowing how lonely you’ll feel once either of you move.

“I forgot how nice you smell.” He murmured, and that’s when you feel your heart already beginning to break. Instead of letting yourself crumble, your link your fingers with his hand where it’s slung over your waist.

“I forgot how warm you are; you’re like a furnace.” And you hear him laugh at that as he leans into you too, and let yourself bask in the moment.

the rat pack: @hotspacedeacon @strangeandwonderfulconcepts @itssaje @d-r-e-a-m-catchme ​ @callumidiot @rockandrollandshit @bohorap @pietrorunsforme @sweetfierceimagines @itsjackothy @mhftrs @sherlockiantheatrenerd @softbenhardy @multifandomgirlrandomstuff @virtualsheepeat @smile-nine @i-padfootblack-things @deaconsroger @spookyfrances @holyurlbatman @your-idiotic-excellency

(crossed out means it wouldn’t tag; i’ll try again for the next part, lemme know if you wanna be tagged xx)

[angrylizardjacket]

And All The Queen’s Men {Roger Taylor}

A/N: 5486 words. Okay wow. Please bare with me, this is a long one and also a bit of a different one. Written in the style of a Rolling Stone article. Finished it at 7am. Prompt & support from the lovely @ginghampearlsnsweettea

[And All The Queen’s Men ‘verse masterpost]

Warning: Minor character death, in both senses, it’s a baby, it’s not graphic it’s just mentioned, but just thought I should let you know.

And All The Queen’s Men: how the lines blurred between Queen and and the Queen of Jazz Rock.

An article almost two years in the making, after their last tour, which I was invited along to in order to write the initial article, the rock sensation Queen split, a decision, I am lead to be believe, was instigated by front man Freddie Mercury, and though Giselle Jones had continued to make music, even before her very public, on-stage breakdown, her lawyers had me keep the article to myself. Now, with the band’s reunion, and Live Aid having been a massive success with both powerhouse musical names coming back into the public eye, I’ve invited them back to my office for one last interview, but mostly to beg them to let me publish this article.

Which, obviously, they allowed.

It’s 1985, and with them all sitting in front of me, I feel a sense of deja vu. There are some changes, of course, Roger Taylor’s hair is shorter, Giselle Jones is wearing jeans and a sweater rather than her well-known cocktail dress, but John Deacon’s still smiling at me, Brian’s looking about the room, perhaps seeing if anything’s changed, and Freddie Mercury’s draped casually on the left of the only non-Queen member of the bunch. 

But before I get into the past two years, maybe I should take you back a bit, to when Giselle and Queen began collaborating.

Giselle Jones began in the late sixties as the front-woman of a swing band in a thirties theme pub known as Modern Glamour. Tall, elegant, with a voice like honey, she had a small following of regulars that frequented the pub, but had kept her passion from music from her family, claiming she was merely a waitress at the establishment, since her father was an executive at EMI, and she didn’t want to seem like the subject of nepotism.

However, one fateful day, her father brings music industry giant to the pub for lunch, hoping to catch Giselle at work and introduce her, but as you know, they both got a lot more than they bargained for. Foster sees potential in her, and offers her a contract if she’s willing to modernise her act, and as we all know, she does.

When Giselle releases her first album in 1970, Velvet Roses, which would be the first and only “Jazz” record to hit the Top 40 charts for that year, Queen are still playing pub gigs around London, though they’re looking at recording their first album, which would eventually get EMI’s attention, but that’s still not for a while. At this point, they’re the biggest fish in a very small uni-pub pond, and they need the means to grow. So out goes the band’s van, for one night in a recording studio.

“Like, in retrospect, of course it was the right decision.” Taylor leans against the back of the sofa he’s sitting on in my office in 1982, voice contemplative and fingers locked together as he looks into the past. “But I was twenty-two at the time, selling my van was a big deal.”

“A big enough deal that you wrote a song about it.” Giselle adds, sitting beside him in the middle of the sofa. Deacon hides a smile though May doesn’t hide his snort of laughter. 

The smirked remark is at odds with her look. While the boys are all in various states of brightly patterned shirts and jeans, looking casual and comfortable; Giselle wears white, sequinned, off-the-shoulder gown that hugs her figure and hits the floor, a slit in the thigh where her leg crosses, dark skin a stunning contrast to both the white fabric of her dress, and the leather of my sofa. Hands folded in over her knee, there’s not a singular hair out of place where she’s got it slicked back; I can’t look at her directly, she’s so focused and well put-together that it’s like staring at the sun.

The contrast has always been apparent in their various works, though Mercury has, in the past, cited her as an early inspiration for his desire to add a certain classical gravitas to rock and roll, and though she hasn’t publicly stated anything, the amount of covers Giselle has performed lived could fill an album. And now, here they are, about leave for a double-billed tour of the US, which I have been asked to join.

But their connection goes back much further than this, all the way back to 1975, to the release of the smash-hit single Bohemian Rhapsody That very same year, Giselle releases her fifth single, Dinner and a Show, a lyrically dissonant, heart pumping anthem that’s a metaphor for the way any type of review fuelled her, since it meant people were talking about her work. 

You serve yourself on a platter; your putrid delights, / yet how can I refrain? / You don’t come to flatter, you don’t want to go / so come on baby, / don’t you know? / You’re treating me to dinner and a show.

Giselle’s usually silky performance is turned into a masterclass of vocal gymnastics as she slides easily from the rough intensity of rock and roll, to the smooth purr of jazz as she sings about eating critics for breakfast.

They say a free mind makes the meat so tender / now you’re on the menu and I’m a big spender

The song itself comes as a response to her former manager about how her “aggressive” move to music that more stylistically rock and roll was alienating older audiences, though Foster, still her producer at the time, was pushing for her to skew to a younger audience, and it seemed as though he had gotten his way.

The real change, however, was the B-Side of the record. After speaking to Jim “Miami” Beach, Queen’s lawyer, regarding potentially covering one of the band’s songs, Giselle reveals that she was eventually told to just ask them directly.

“I gave Miami a letter that basically explained that I’d like to cover one of their songs for my new album,” Giselle gives me a thin smile, and I feel like I’ve done something wrong, even though I’m assured by Brian that her public persona “is just like that sometimes”. 

“- and I thought it was a joke! I said ‘yeah, sure, what’s the worst that could happen’.” Mercury laughs, leaning forward elbows on his knees and eyes shinning with amusement. “I did not believe for one second that Giselle, Giselle-” repeating her name for emphasis, his hand comes to quickly rest on hers where she still has them perfectly still on her knee, a moment of solidarity, “wanted anything to do with us. Hand Held Heart had been at the top of the US charts for almost three whole weeks the year before.” Letting out a long, wistful sigh, Mercury sits back, still grinning, though he’s got this far away look on his face now. 

“So we’d been stuck on a farm, recording A Night At The Opera for weeks with no outside communications, ” May fills in where Mercury’s faded into his own memories, and Taylor slings arm around Giselle where she’s actually relaxed somewhat, hands now in her lap. Curiously, she doesn’t shrug him off. “And when we get back, it turns out that she’s put a jazz cover of Jesus, yeah, that song from our first album, on the B-Side of her newest single.”

“Freddie practically had a heart attack.” Deacon adds, patting Mercury’s shoulder fondly.

In her own way, she was continuing the trend that Dinner and a Show had started, and that seven-inch single would bestow upon Giselle the title of Queen of Jazz Rock. It hadn’t been the first time she had acknowledged the band publicly, by the time she had released the single, her public persona had gained enough traction that, a few months prior to her recording of the cover, a reporter had asked if Killer Queen, Queen’s biggest hit at the time, had been written about her. The question had been caught on camera by the reporter after one of her tour stops in the Midwest of America; the footage is a favourite of fans, including myself, of the way she doesn’t even turn, simply calls over her shoulder, ‘they should be so lucky’, and she gets into her waiting car.

“I never took offence,” Mercury tells me, both in 1982, and 1985, as I bring it up both times to consolidate the origins of their musical partnership.

“You wouldn’t, you were all starry-eyed for her back then.” Taylor leans back to address Mercury behind Giselle’s head, but only when he says it the first time, in 1982. 

“It was a bit of a dig at us,” Deacon agrees with the drummer, nodding before shrugging. “A lot of good came out of it, though.” The others seem to agree, but Giselle herself has stayed quiet. For the first time since the interview started, she looks away from me, gaze dipping as she seems inclined to speak, though she takes her time to weigh up her words before she says them, wondering exactly what will and will not be printed.

“It was a bit of s**t thing to say. I was twenty-four and I panicked, I had to keep up my... this persona.” She gestures now to herself, breaking the entire physicality as she lets herself lean back, and I feel like I can breathe, seeing her act so human. Adjusting, she lets herself rest of the slightest of diagonals, shoulder to shoulder with Taylor’s arm still around her, now with Mercury petting her knee in solidarity.

Once in the tour bus, the difference between Giselle Jones, the woman, and Giselle, the singer and personality, becomes almost jarring to see. As soon as we get into the bus, she strips off the gown she was wearing, I turn away, though the others don’t seem to be bothered by it, May takes the dress to a waiting assistant by the door, and when I turn back, she’s in a pair of sweat pants and Taylor is tossing her shirt several sizes too big for her. For the first time since I’ve learned about her, Giselle looks comfortable, looks approachable and, for lack of a better word, non-robotic, taking a hairbrush from a drawer and flopping onto one of the beds as she brushes out the gel, apparently not bothering with a shower just yet.

“I showered this morning.” She seems to have caught my confused look, and explains herself. With her guard lowered in the familiar situation, her natural voice shines through, a rich, yet feminine alto, reminiscent of her singing voice. It adds to the list of things that add character to her beyond what her “persona” could ever convey. Or perhaps that’s the point.

The bus itself is almost too small for the five performers, and I’m certain it won’t fit me, but Giselle and I watch as they cram a blow up bed onto the kitchen table. It looks stable, and for the opportunity to experience living in such close quarters with such big names, I’d take anything.

“Sorry, darling, Paul takes the only spare bed.” Mercury informs me as I shimmy up onto the bed to test if it would hold. I had thought that the vehicle was at capacity, though it does make sense that the band’s day-to-day manager, Paul Prenter, would be travelling with them. That being said, I hadn’t realised there was even a spare bed, there was only five, perhaps none of them had wanted to be subjected to the blow up bed and decided to share instead.

When we finally get on the road, I get to finally see their true dynamics emerge. We all know the Queen dynamics by now, brotherly yet volatile, at times. I had worried for Giselle at times, the concept of living with four men (five if you count Prenter, who Giselle does not seem to, when I ask her about it, though I don’t think that’s a subject I should pry about, judging by the look on Taylor’s face where I can see him lounging at the back of the bus). However, I should have not have been worried; first of all, despite the youthfulness of their appearances, performances, and spirit, these are all men in their 30s, Giselle herself being 31 at the time of writing (1982), and they all have experience living with women, and with each other.

“First tour was a nightmare.” Deacon’s joined me on the blowup bed, is sipping tea as we travel along. “We learned real quick how disgusting close quarters can be.” He’s a quiet soul, but observant, and honestly I really enjoy his company. Anyone who can weather over a decade of rock and roll and come out as calm as him deserves some sort of recognition. “It’s much better now. Mostly.” He smiles like it’s an inside joke, but won’t elaborate. Giselle and Taylor refuse to clarify what he means by that, May just laughs when I ask him, directing me back to ask Taylor and Giselle, and Mercury calls them all gossips.

It’s something about the tour lifestyle that must bring out the childishness in them all, which comes out strongly during dinner. They shove my blowup bed into the sleeping quarters when dinner is served, and the five of us manage to cram into the tiny booth the bus allows. May, Deacon and Giselle are in charge of cooking dinner, sausages, potatoes, and peas, since apparently Prenter and Mercury have taken lunch duties, and Roger has put himself in charge of getting coffee and tea for everyone in the morning.

“We should really eat breakfast.” Giselle muses through half a mouthful of food.

“I do!” Deacon, next to me, comes back with, pouring some more peas onto his plate.

“You just eat cereal from the box, Deaky, that’s not breakfast.” Taylor counters him, which just causes the rest of the table to devolve into an argument about what counts as breakfast. Prenter, who has joined us for the meal, looks like he’d rather be napping or still driving, and makes quiet work of his meal.

Roger Taylor goes to sleep after me, and wakes up before I do, and I’m not sure how he does it. Or where he sleeps, the other beds seem taken. He wakes me up on the first morning by shoving my bed, which slides a few centimeters, but isn’t about to fall off it’s perch.

“You want coffee?” I’m barely functioning at this point, and his question baffles me. “Tea? Coffee? Deaky’s cereal? We got some left over sausages.” He lists off, probably due to my clear confusion, he seems exasperated, even though he’s definitely wearing pyjamas too. He’s still scowling a little when I tell him how I like my coffee, but he doesn’t complain, and it tastes exactly like I like it when he hands it over. The bus is stationary, so he can put the cups by the bedsides of those they are for, but interestingly enough he joins me on the table/bed. 

I know the origin story of Queen, I think everyone does at this point, so I ask him instead about the subject of my article; how Queen got involved with Giselle.

“You wanna know how I met Giselle?” It’s not exactly what I asked, but he’s already thinking about it, looking past me to the sleeping quarters with a frown. He plays absent-mindedly with the chain around his neck, and with the ring attached to it. “I thought everyone knew about that, the whole thing where we hated each other from the start?” When I ask if it was true, he actually laughs, though it’s more a snort of derision, if I’m being honest. “Of course not. Mostly.” They all seem to like that word, I hadn’t taken them all to be vague.

“I told him to take a long walk off a short pier.” Giselle will clarify for me later that day, joining me as I take a smoke break at one of our bathroom stops, not that there isn’t a toilet on the bus, they just try to avoid using it as much as possible. She doesn’t smoke, claims she never has, but enjoys the company, while the boys are buying snacks at the gas station. I ask when it was, she gives me another thin smile, but not like it had been in the office. Here it’s the punctuation to an earlier joke rather than a judgement.

She tells me about how she actually met them all, recording her second album, after her 1972 performance on Top of the Pops, you know the one. It had cemented Giselle’s now iconic aesthetic of an off the shoulder, floor length sequinned gown, silk gloves, and bold red lipstick, dark hair falling victory curls, the whole look reminiscent of an old Hollywood star, though there was red glitter trailing from her lips, and on her gloves in a theatrical fabrication of blood. It had been a look inspired by her musical roots, and the theatricality of the then-popular glam rock, a movement which would inspire many of Mercury’s tour looks also.

She was twenty-one at the time, still “developing her persona”, when she found that the in-house recording equipment at EMI was being used by the then-still quite unknown Queen. Or rather, according to Giselle, just Taylor.

“He was packing up the last of his equipment, and he makes a pass at me, thinks I’m an intern.” We can see the boys leaving the gas station, Taylor himself heading the pack. “So yeah, told him to take a long walk off a short pier.” She laughs, seems to hold the memory quite dear. “That b******d has the gall to look me in the eyes and ask who I am.”

“Did he know who you were?” When I look at her, she’s still smiling, tipping her head to the side as the boys draw close. She seems to be paying attention to me, but not a lot.

“Yeah, told me later he was just pissed I didn’t throw myself at him. That’s why I said that, ‘they should be so lucky’ thing, actually, that motherf****r right there.” The way she says it, raising her finger to point at him, makes me think it’s a story she’s told before, one that he knows about.

“You talking about me?” Taylor yells, and Giselle is quick to answer that she is. “Don’t spill all my secrets.” It sounds like an order, but his smile says it’s not, it’s weirdly playful, a dynamic I didn’t expect from them, especially considering their history. I raise the point. She laughs at me.

“You’re kidding, right?” 

Prenter calls for everyone on the bus, and Giselle doesn’t think to clarify once we’re back on board. 

The tour, I should have mentioned earlier, is a double feature; Queen is promoting their album Hot Space, while Giselle is promoting her own, The Bend Before the Break. When I ask her about the album itself, she talks happily about a few of the songs, however when I bring up my personal favourites, Ache and Heaven Sent, she turns very quiet.

I will end up watching most of her performances, and to this day, I have never seen something as raw and spiritual as Giselle performing Ache.

The lights dim as the joyful Meant to Be finishes. On the studio recording, a double bass starts the song, long, grieving and angry notes that pick up in tempo as it’s joined by drums and a piano, and finally, her voice, low, bitter and seductive in equal measure. Here, there’s silence, as she gently croons the open lines, face illuminated by only a single gold light, as swirling red and purple lights move about the stage. 

While saying you were sorry, / you burned me from the outside, in. / Now I’m calloused all over, / And too tired to feel the sting. / But I feel the ache, / feel the ache / feel the ache. / I’ll still let you back in.

She plays the piano herself for this song, a skill, I later learn Mercury had taught her many years ago. It’s a song that tugs at your gut, gets you thinking about how you keep people in your life who aren’t the best for you. She ends the last chorus with a long, mournful wail that you feel in your bones. 

I’ve never heard a crowd so quiet as when she finishes Ache, the penultimate song of her set list, unless you count encores.

The final song of the night is always Heaven Sent, a bright, headbanging anthem with the musical gravitas of a full jazz band. It was her single from the album, it topped most charts. You know the one. The radio won’t stop playing it.

Divinity with a neon glow / it hung above his head, / promoting his next show. / Didn’t even try to find my light, / just the darkness he’d bestow. / Heaven sent me the Morningstar.

“I was cheated on.” Was all she will say about the songs.

The others steer clear of those songs as well, when talking about the album, as well as the titular song, The Bend Before the Break, though Giselle claims she has moved on from the feelings associated in all three songs.

“I wrote them first on the album, I’ve moved on.”

Each of the boys seems very protective of Giselle at times, though Taylor is by far the worst. If I’m being honest, was weird to me, they’d been at each other’s throats publicly and professionally for almost a full decade after Giselle’s initial comment, however the vitriol had died down in the past few years, so I enquire about that about halfway through the six week tour. 

“We set them up.” May is the first to answer, sipping tea with myself, Deacon and Mercury. Since both Giselle and Taylor adjourned to the sleeping quarters. I ask him what he means.

“They tell it better.” Mercury interjects, but May argues that they’re asleep anyways so it’s not like it matters. Deacon agrees with Mercury, but quiet enough that May ignores him.

“So by ‘79, we’ve collaborated together, us and ‘Zelle, I mean,” the nickname is mostly used by May and Taylor, though Deacon uses it on occasion, “a couple of times, and we love her, right boys? We love her-” looking around, both Mercury and Deacon are nodding along, responding to a story they’d both heard before, though it was interesting for my first time hearing it, “but Rog is about ready to stab her with his drumsticks, but that’s just how he is.”

“Threatened to stab me once.” Deacon adds the unnerving information with complete serenity, focused on his cup.

“Me a couple of times.” Mercury shakes his head, as if it were some schoolboy prank rather than a stabbing threat.

“Like I said, just how he is. So we decide to send them to a place where they can bond over complaining about everything else, apart from each other.” I asked how it worked out for them and I watch as their faces fall. This terrible blind date idea must have gone horribly. “They hate the restaurant, which is good, but he goes to leave and bumps the table, spilling beer all over her dress, which is bad,” well, obviously. He pays me no mind, “and she elbows him in the face when she’s putting her jacket on - still don’t know how that one happened - but he still says he’ll take her home because it’s late, except-”

“To preface,” Deacon jumps in here, adding a little more milk to his tea, “she hates I’m In Love With My Car.” The song? Deacon nods. “Rog wrote it.” I can connect the dots, but I’m still confused as to how that lead to them being friends.

“Friends.” Mercury actually laughs into his cup.

“He takes her home anyways, she tells him the song’s s**t bu the sentiment wasn’t far off.” May finishes, shrugging.

“It was a real nice car.” Deacon shrugged, before looking straight at me. “And she still hates the song to this day.” There’s an air of finality to his words that is entirely unwarranted. That isn’t the point of the story; how are they friends now? Did they hook up in his car? Is that what they’re implying, I feel like such a gossip asking these questions.

“Did they ho- ? Yeah, of course.” May laughs, and though it clears some things up, I’m still rather confused. It’s probably reading on my face, because it looks like something else is dawning on him. “You know they’re married, right?”

No. No I did not know. Now I feel like an idiot.

I wonder if The Bend Before the Break is about Taylor? I can sense I’ve touched a nerve when I ask, and Mercury abruptly changes the subject, though the air still doesn’t feel right. When I head back through the sleeping area to get a new pen from my luggage, I catch a glimpse of Giselle napping in her bunk, Taylor too, asleep with his arm around her. She’s even wearing a wedding ring. I’m kicking myself for not noticing sooner. The chain with the ring around Taylor’s neck makes sense now. A lot of things make sense now.

For the next four days I feel like I’m being shunned, I’m the last to be told about dinner and have to eat the leftovers, Giselle barely says two words to me, Taylor just keeps glowering, and someone let the air out of my bed on the second night. It’s childish, but it’s in line with what I expect from them, regarding this sort of issue, I’m just glad Taylor hasn’t poured my coffee on me in my sleep, or spat in it. He just didn’t make it, which I suppose is probably the safest option for me.

The only apology I can think of is to offer to buy them all drinks, but it works well enough, and the next morning I wake to a fresh cup of coffee, and a very hungover Taylor. At least he’s dedicated to his job.

The rest of the tour passes without further incident. I still stand by Ache as one of my favourite musical performances of the decade, though I don’t mention it to Giselle, and now that I know the dynamic between her and Taylor, I can’t stop seeing it. Honestly, readers, they’re all over each other, which is expected from a man of Taylor’s reputation, but it’s still a little jarring to see the two of them so cozy. I must have been blind not to see it before.

When we part ways, Giselle is a little stiff with me.

“You brought up some feelings that I just... hadn’t actually dealt with at the time, which f******d me up.” She tells me in retrospect, sitting in my office with the rest of the boys in 1985. Live Aid was a few weeks ago, and since they all returned to the spotlight, I asked if they wanted to come and reflect on the past few years. The one thing that hasn’t changed is the fact that Giselle still swears like a sailor.

“A lot’s happened in the past few years.” Taylor’s still very protective of her, and after everything that’s conspired, at least from what I know, it’s warranted. We talk about the band splitting, how it had hurt the band as a whole, and even Giselle, who was at the time seeing a counsellor with Taylor. I’m hesitant to broach the topic of their relationship, though they seem like a solid until now, sitting before me, holding hands and leaning against one another.

I ask if Giselle’s breakdown was due to the band splitting, though I’m hesitant if I’ll get a response. Her smile is sad, which is mirrored by the rest of the band. I can guess her response before she says it.

“No.”

You all know the moment I’m talking about, the last concert for her last album, as of this publication, Finally, Sunlight where she had receive pleas from the audience for an encore. When she came back out, part of her makeup had been smudged around her eyes, and you can hear her sniffle over the microphone. (”I’m so sorry, I lost someone close to me, I thought I could keep it together for one night.” Dabbing at her eyes, she sits at the piano and laughs, but there’s no heart in it. “But I’ve got five more minutes left in me, let’s go, Atlanta.”) The song she plays is Somebody to Love, a slow, soulful cover, and the audience is almost unanimous in their raised lighters and slow swaying. As she goes on, she just starts crying harder, missing notes, hands shaking; the extended ‘Looooord’ before the chanting becomes a desperate wail, a plea to the heavens, and she collapses onto the piano, sobbing audibly as the instruments all come to uncertain halt and lighters go down in confusion.

From the crowd, a single voice begins to chant ‘Find me somebody to love. / Find me somebody to love.’ and a single voice turns to a theatre, full to the brim, as they sing when she can’t, still crying against the piano. Lighters go up, and together the audience and the band finishes the song where words have failed her. It was televised locally on the night, and still brings me to tears when I watch it now.

“We lost our daughter.” 

For those of you reading this who are shocked, I am too. Sitting there like a fool, not saying anything. 

“I was on tour, and Rog was at home with her,” even now, Giselle is getting a little teary-eyed, not that I blame her. Both Taylor and Mercury have an arm around her, and May has a hand on her shoulder, Deacon sitting on the back of the sofa right behind her. A unit. A family. “I wanted to go home, she was getting really sick, and I know he was doing everything he could, but I just- I wanted to be there... but my label threatened to sue me for... millions.” It sounds like it’s hard to say, and she’s wiping a tear from her eyes. I offer her the tissues on my desk. “But I should have gone home. I should have been there by her side, I should have done more.” Taylor whispers something to her and she leans against him, taking comfort in him.

“I had to call her, tell her that... that she’d passed. The day of the show. She’d been so upset for week, ‘Zelle that is, and everything just-” Taylor manages to get a great handle on his emotions, despite his misty eyes and shaking hands. “We’re alright now though, see? Nothing can tear us apart.” Though his voice does drop, so I think he’s saying it more for Giselle’s benefit. I give them all time to collect themselves, stop to get hot drinks for everyone, and everyone finally seems happy enough to answer when I ask what’s next for them.

“Music, of course.” Mercury says, now holding what was Giselle’s free hand. The rest of the gathered musicians agree. I ask if we’ll be hearing any sort of collaboration between Queen and the Queen of Jazz Rock. Taylor snickers, pulling Giselle close.

“Yeah, but not in the way you mean.” He ignores the rest of the men’s shouts of disgust, as well as his wife’s own gagging noise, which I can see on her face she regrets as she covers her mouth with caution, before giving the okay. 

“No, we’re okay, we’re good.” She assures everyone, before looking at me. “What he meant to say is that I’m pregnant.” She clarifies. Taylor is still grinning. 

“Don’t be gross, Rog.” May calls from the other side of the sofa, and Taylor has the gall to look accosted.

“What’s next for me, after everything that’s happened, is family.” Giselle says over the sounds of her husband’s indignant huffs, though his expression turns soft at her words, and they ignore the ‘boo’s of everyone else as they kiss.

“Could you be less gross around company?” Deacon asks, still mild-mannered as ever. This seems to be the cue for the interview to end, as Taylor of Giselle-

“It’s Giselle Taylor, by the way, I’m sorry I hadn’t corrected you earlier.” She corrects me now, as [Roger] Taylor leads her out of the door. The rest of the band seem mildly exasperated at their antics, but still ready to answer my questions. After everything that’s happened, I’m a little overwhelmed, I’m not sure where to go from here.

Perhaps my next article will be on Live Aid.