This tumblr is fully dedicated to our crossover fic between Queen and Dire Straits. It is run by its authors themselves (that’s us - hi!) and both of us are Spanish-native writers, which means that our fanfiction, and therefore this blog (except for these useful four posts about plot, couples & characters), are going to be written in Spanish too. We would love to eventually translate everything into English, but neither of us is currently capable of doing so and this is quite a long fic we are talking about. If it happened that there’s someone out there willing to translate our work, we would be the happiest!In the meanwhile, please feel free to use an online translator if needed or even reaching us out to ask whatever you may not fully understand. We’d just love you to enjoy this emotional story about two of the most iconic rock bands ever. See you at some wooden hub in the not-so-cold Scottland!
First of all, I want to apologize for the delay but as you can see I wanted to make a good post and with the wi fi problems that I had a few days ago I couldn’t have worked calmly to create this. I hope I’ve received the tags of all those who participated: sometimes Tumblr doesn’t send me notifications! 😣
In case you participated with a creation and you don’t see your name in this post, please, write me in private! 😘
I want to thank those who participated: you were magnificent and thank you so much!! There are different creations, unique in their style and really… you have been so good. It was difficult to choose, really! 🙏🏼
AAAAAAAAA WAIT REALLY??? OH MY GOD, all the others works are so magnificent that I didn't expect this at all, somebody pinch me!! Okay, I must stay cool (who do I want to fool?? I'm plethoric). Thank you so, so, so much, Binky, with your art is always easy to feel me blessed and magic!
Author: Neuswastedlife (or utenorria on instagram)
Character/Pairing: The unicorn boy (John Deacon), deacury AU
Notes: I had started it since the challenge by @binkyisonline began and I have finally overcame my creative block, but this time it took me longer to translate it (thanks a lot to my boyfriend for helping me with that). I’m sorry it’s so short, but I’ve put all my love and admiration towards Binky’s illustration in it. I’ve gone for an ethereal, fable-like style, with somewhat abstract and poetical elements. Thank you very much, dear Binky, for postponing the deadline and for always inspiring us with your art.
(photo from the left by Кирилл Аверьянов)
-:-
The unicorn boy was unique, and this time “unique” meant “alone”. It was the rarities of his unique beauty which set him apart from the world, which made him the unique one with those traits in a forest both magical and human. Far away from the reality they avoided, but too honest to be ignored, that same forest in which he didn’t feel he fitted, was too much like the destiny he shouldered.
There, alone, still and beautiful.
His body didn’t have anything particular to it: a human silhouette, made of flesh, bone and blood. His silky mane, however, was graceful and timeless, the only thing which covered his perpetual nudity with a special shade, and from his forehead The Horn rose; sharp and precious, that unique trait pointed to everyone who in turn pointed to him. The spiral of his tragedy and, at the same time, the key of his whole identity.
The creature wallowed among the fields of flowers, he caressed them, made them speak, even wore them as a Crown, as part of that unique nature which celebrated his existence, but never stopped watching him with eyes full of surprise. Everything he produced in the others was those kind of emotions, emotions which reflected nervousness and which observed him always from a distance, even if it was with admiration in their hearts. The unicorn boy did not hate anyone, but he was starting to suffer from that monotony they condemned him to, that supposed greatness which revered who he was, what he was… as if that was the unique thing he could be.
There, alone, still and beautiful.
Until one day, that man found him. A dewy morning, the unicorn boy opened his eyes and found the smile of a human close to him. His dark eyes were bright with an awe different to the one the other creatures of the forest had, and with a curiosity much less scientific than any foreigner’s. The man sat by his side and they spoke for entire days, like two lost souls in a fable. He told him stories from beyond the forest’s limits, and he always did so with that smile in his lips, until the unicorn fell asleep, exhausted each night, and woke up every morning, eager for more fascination than he had ever produced himself.
That human always smiled with familiarity, with warmth, and after each question the unicorn boy made of the outer world, he caressed his moustache with a roguish wisdom. That man was full of electricity, from the way he looked to the way he spoke, and when he discovered he had the same gift for singing, the unicorn boy felt how that same electricity rushed through his flesh. It would have even made sparks come out of his beautiful horn, because that voice was the same as him: unique, sharp and timeless. The most beautiful spiral in which he had ever desired to twist his body around.
One morning, the man finally got up and offered him his hand. “Come with me, the world needs to know you” he told him, and the unicorn boy took his hand and, for the first time in a many years, stood up. His whole silhouette raised, as did his horn, and dawn’s light bathed him whole, while the leaves and the flowers descended over his skin, going back to the ground where he would no longer rest.
The unicorn boy did not care about the world, but he didn’t want to leave that man’s side, so he clutched his fingers with a fearful strength and walked with him without looking back. Because by his side, he didn’t have to renounce to what he was. Because by his side, there were no surprises, no concern, he only wanted more. Because that human looked at him as if no one else could see how special he was.
That, and only that, was how the unicorn boy felt truly unique.
❤ You guys are wonderful and you make me experiment with new things! ❤
Special commission: Brian May x Mark Knopler of Dire Straits!
Why this unusual ship?
It was created by two awsome girls who are writing an interesting crossover between Queen and Dire Straits (several ships, poly and 3somes among these legendary rock stars!!). Here you can find the link to their blog whit the info to discover this story! They are working hard so you give them great support: we support the artists in this beautiful fandom, uh? ❤
(The main part of this ship? Mark’s fingers … and Brian likes them so much …)
——–
“He found that Mark’s blue gaze accompanied the slow
but devastating understanding of what was happening; and still looking
back at him, Brian ran across his lips, with trembling slowness, in turn, still
trembling fingers of Knopfler. First he barely touched them, he let them
settle gently. Then, he dared to give them a touch with his lower lip,
recognizing one by one the fingers that he had admired so many times
from distance. When he started kissing them, it was Mark who drowned;
and noticing the small, soft calluses on his right hand, the one that did not
admit picks, Brian stuck his tongue out and ran it over each of those
imperfections.”
El remolino de polvo en torno a la pantalla iluminada, que a efectos prácticos ni siquiera existía, parecía una lluvia de chispas a punto de estallar junto a ellos. La habrían sumado a esa abrumadora diégesis que tanto apocaba la realidad, pero la guitarra de Brian May y la batería de Roger Taylor no tenían nada de ficticias. Ya fueran grabadas en el directo de Montreal, en una cabaña perdida de Escocia, o en las pupilas de Mark Knopfler cuando, retando a lo que había empezado todo, volvió a girarse hacia la proyección. Esa vez, para beberse hasta la última gota de sudor de las figuras de Roger y Brian salpicando toda la estancia con su solo compartido.
Si el Roger que tenía pegado al cuerpo olvidaba aquella rabieta durante unos segundos, podría ver que lo estaba mirando a él por encima de todo lo demás, en Montreal, y en Escocia, y en aquella oscuridad roja que conectaba sendos instantes en el tiempo para jadeárselos directamente a los labios:
—No sé qué buscabas con lo que acabas de hacer, pero me has encontrado a mí.
Mark Knopfler a Roger Taylor (Capítulo 4: Roger y Mark)
Author: Neuswastedlife (or utenorria on Instagram)
Pairing: Deacury (John Deacon x Freddie Mercury)
Prompt: “I’m gonna be your slave, I’m gonna serve you ‘til your dying day”
Notes: Hi everyone! This is the first time I participate in a Week, I’m really excited but to be honest I don’t know if my work fits well in your expectations because I guess it’s not something "kink" per se, but I hope you like it anyway. Because of the lyrics of this prompt, I was inspired by what has always suggested to me the interactions between John and Freddie during the choirs of Liar, in the videoclip and the lives from the '70s. In the past, it was precisely this kind of “approach ritual” that made me begin to ship deacury. Like the song and its lyrics, I find it very suggestive and erotic, so I hope I managed to capture all that in a brief intimate moment between the two of them after a concert night where they played this song.
Also, I’m Spanish and my writing style is maybe atipical, and difficult to adapt to English. I’ve done what I could translating it so that it can be understood without losing "my signature".
Well, I don't want to bore you anymore with chatter. Without any further delay, I hope you enjoy it!
@binkyisonline @painkiller80
And to think that it all started because he wanted to sing... Deacy, yeah, that guy who plays bass because no one thinks he has anything to say, makes Freddie Mercury have his jaw skin bristling in front of millions of people. In fact, he bristles in more areas that he did not remember he had right up until the clamor of his «All day long» splashed in his face, and the singer's smile split the temperature in two when he understood the sudden magnetism that his microphone had taken on the silent Deacon. So he retains it, enjoys it, circles around it to covet that outburst that smells of sweat, tastes like aphonic laughs and sounds like an entire stadium chanting the songs of four strangers who that night has crowned. Fred keep twisting between them as what it is, a privilege and suddenly, the only thing he can think of, with his ears plugged and pierced by that beep of deafness and urgency, is that John's fingers are playing for him, but not with him.
The lures of a Queen have burned stages for much less...
When the show ends and they are guided through the only exit safe enough for the fame that weights upon their shoulders, Freddie manages to locate the corner in time so the darkness behind the huge platform eats John before him. The youngest one looks at him against the backstage wall, with that spark of surprise that seems innocent until Freddie sees that the only thing that worries him is that the contact will last only until the others realize that the toothy legend has disappeared. Not much time, just as long as they can keep still after the dry blow and the bite in the shadows.
Trembling, palpitations, gasps, the feeling of still being at the mercy of a crowd, which only begins to fade by having the eyes tightly closed and the moans coming out of the other’s mouth; finding the ecstasy of the concert in the grip of their bodies. John stifles a laugh when Freddie practically tackles his stomach in the process of “forcing” him to cover his entire damn bulges with one hand. The bassist smiles in pain as he regains control of his own movements, bends over Fred all the choking width of the corner allows him and looks at the demanding frontman with defiance over his shoulder, while proceeding to recreate what has awakened so much jealousy up there; now inside his pants.
«I’m gonna serve you ‘til your dying day.» John seems to hum quietly, even if he never sings —but he always talk.
Freddie closes his eyes again right there and for a moment his grunts of fulfilled frustration seem able to compete with the fucking London Philharmonic Orchestra that wouldn’t be able to do much against the masturbating fingers of John Deacon. The onslaught of the space is electrifying, almost epileptic, totally poisoned by the haze they already had and that can finally be amplified in intimacy, with one’s art and the other’s precision.
Between the groan of the crushed flesh, the frizzy hairs face to face, getting lost in the lips through more groans, the bassist plays and the singer sings his voice out. As it should be. Or as their inappropriate black clothes will have to deal with later.
Damnitthere'snotimeDamnitfuckmewiththosefingers.
The world is an expert in looking where it shouldn't, after all.
Se aseguró de que John volvía a mirarle a la cara en el momento de emplear muy bien ese tic y llevarse el dedo a la boca antes de pasarlo por el centro de sus nalgas.
Las tres primeras parejas: Knopfley, maylor & deacury (The first three couples, also translated in English)
Mark Knopfler/John Illsley (knopfley): Tienen una relación íntima que va paralela a su relación como miembros fundadores de Dire Straits. Son las dos únicas personas que permanecen en la banda de manera constante a lo largo de los años, pero entre ellos, como pareja, esa constancia encuentra más complicaciones. Mark tiene una actitud individualista que con John queda reflejada en cómo se aleja de él por períodos de tiempo, pero siempre acaba por volver a su lado sin dar realmente explicaciones. Y John, por su parte, tampoco las pide, casi las rehúye, y se acostumbra a tener este tipo de dinámica tan inestable y problemática con él. El tiempo que están juntos lo exprimen al máximo, y la compañía del otro aplaca temporalmente cualquier miedo que, en cualquier caso, nunca se atreven a comunicar.
They have an intimate relationship that runs parallel to the one they share as founding members of Dire Straits. They are the only two people to remain in the band throughout the years, but, as a couple, that constant doesn’t go as smoothly. Mark has an individualistic attitude that leads him to separate himself from John for long periods of time, though he always ends up coming back without ever really giving any explanation at all. John, on the other hand, doesn’t demand one, almost running away from it, and gets used to such an unstable, problematic loop with him. The make the absolute most out of the time they have together, and each other’s company temporarily placates the fears they have, nor that they would ever dare to share them, in any case.
Brian May/Roger Taylor (maylor): Rockerillos que coincidieron en la vida del otro de mucho antes de fundar su banda actual, cero comunicativos entre sí y más tóxicos de lo que se permiten pensar. Pero en fin, se conocen y se necesitan como nadie, casi no recuerdan la última vez que hicieron algo sin estar juntos y verdaderamente son un poco como Cam y Mitchell de Modern Family versión-musical-rockera-decadente (?). Bien estaría que solucionaran de una vez las taritas de su matrimonio viejo.
Little rockstars that chanced upon each other’s lifes way before the founding of their current band, not communicating between themselves at all and way more toxic than they allow themselves to think. But alas, they know and need each other like no one else, barely able to remember the last time they did something without being together and they are truly a bit like a musical-rocker-decadent(?) version of Cam & Mitchell from Modern Family. It would do them Good to finally fix the faults of their old marriage.
John "Deacy" Deacon/Freddie Mercury (deacury): Deacy fue el último en unirse a la banda y en cuanto intimó con Freddie, éste vio el inmenso potencial que traía y se convirtió prácticamente en su protector. Acogía al bueno de Deacy bajo su ala, se ponía siempre de su parte y le instaba a que compusiera más y más. Sus personalidades se complementaban muchísimo porque Freddie como performer era todo un portento desmelenado y caprichoso, puro espectáculo, pero con el micro apagado se volvía un niño complejo, solitario y casi tímido; mientras que John, prudente, discreto en el escenario, sin cantar ni pisarles la voz a ninguno de sus compañeros con su instrumento, después abría la boca en privado y sabía exactamente cómo romper el silencio. Ni falta hará decir que son la pareja más sana y comunicativa de las tres, pero a pesar de todo, también vienen con sus claroscuros. Tiempo al tiempo.
Deacy was the last one to join the band and as soon as he grew intimate with Freddie, the leading singer saw the inmense potential he brought to the band and became his protector. He took Deacy under his wing, always took his side and encouraged him to compose more and more. Their personalities complemented each other a lot because Freddie as a performer was a capricious, dishevelled wonder, sheer spectacle, but with the micro turned off he became a complex, solitary, almost shy kid; while as John, prudent, discrete on stage, without singing or stepping over any of his mates with his instrument, only to then open his mouth in private, knowing exactly how to break that silence. No need to say it, really, but they are the healthiest couple out of the three, but, despite that, they have their own chiaroscuros. Time will tell.
Se sonrieron, disfrutando de la cercanía asfixiante del otro. Pero entonces se escuchó el sonido inconfundible de la guitarra en Queen, y ambos volvieron su atención de inmediato hacia la pantalla. El deleite de Mark fue tan instantáneo y tan abrupto que Roger casi se sintió violentado por él. Y ni aun así pudo evitar él mismo recrearse en Brian bajo esas luces rojas y oscuras.
En esa nueva cercanía, ambos guardaron silencio al fin, contemplando entre borlas de humo cómo el Roger de la pantalla se desvivía encima de su set de percusión. El Roger de la cabaña tenía la cara casi sobre la nuca de Mark, y le respiraba encima muy a consciencia: quería que ese maldito guitarrista reconociera el esfuerzo físico real que traían consigo los timbales, cajas, bombos, tomtoms y gongs, que no le bastara con reconocerlo en un tercero, que lo sintiera a través del cuerpo de Roger: un músico que hizo del dar golpes, su profesión.
El brillo de la saliva en su rostro no tenía nada que envidiar al que ahora recibía de los ojos de Deacy, y ni el sopor de los cigarrillos, o las motas invernales de polvo en el aire, lograrían descentrar al menos trabajador de sus sentidos. Ahora, los tenía a todos ardiendo bajo el peso de Deacon, incluso jadeando con las prisas del novato, como si se estuviera masturbando por primera vez allí mismo, delante de otro John.
¿Qué es el fingerpicking? ¿Creó Brian May su propia guitarra?
El fingerpicking (también llamado fingerstyle) es una técnica de tocar la guitarra, desarrollada por los músicos de blues y folk del llamado Viejo Sur de los Estados Unidos, concretamente de las comarcas montañosas de Carolina del Norte, Carolina del Sur y Virginia Occidental, a partir de la década de 1920. (Wikipedia, Fingerpicking)
La técnica
La imitación del piano implica que el dedo pulgar lleve el ritmo (mano izquierda del piano ragtime) y los dedos índice y corazón hagan la melodía sincopada.
(...)
Algunos guitarristas actuales utilizan las uñas para tocar las cuerdas agudas. Como, por ejemplo, Mark Knopfler, guitarrista no estrictamente de fingerpicking, pero que utiliza esta técnica para su música, toca ni más ni menos que la guitarra eléctrica con la punta de los dedos.
Más información aquí.
“Rellené los agujeros con madera de cerilla y los cubrí con una capa de Rustin’s Plastic Coating. La caja de la guitarra la hicimos de un robusto trozo de roble. En un momento determinado, el escoplo estropeó parte de la madera de la caja, y me sentí tan frustrado que tiré todo por la ventana y empecé de nuevo. Las herramientas utilizadas a lo largo del proyecto también estaban hechas a mano, y las que no lo estaban eran herramientas sencillas. En el lugar donde están unidos el cuerpo y el mástil sólo utilicé un cortaplumas y una lija, porque no teníamos ninguna herramienta más compleja.” Brian May (entrevista sobre la Red Special)
La roja especial, La chimenea o La vieja dama. Con estos tres nombres Brian May se ha referido a su guitarra de caoba color rojo que llama la atención por ser un instrumento único.
No se trata de una edición limitada lanzada por una compañía reconocida por su trabajo en guitarras tales como Fender, Gibson o Ibanez. Si es calificada como “única” es en el sentido literal, pues Brian May la construyó con su padre a partir de diversos materiales que encontraron en su entorno.
Los chicos de Dire Straits (The Dire Straits guys, also translated in English)
No es por marginar a las cuatro reinas, pero todos coincidiremos en que son de sobras conocidas, y más aún dentro del bandom. Hagamos las presentaciones, pues, de los chicos de Dire Straits, o como nosotras les hemos apodado cariñosamente: “los puteaos”.
Not to disrespect the four queenies, but we would all agree that they are known enough, even more so inside the bandom. Let’s introduce, then, the Dire Strait guys, or, as we have affectionately nick-named them: “the Puteaos” (In Spanish, someone who has fucked up, and finds himself, indeed, in Dire Straits).
PRINCIPALES EN EL FIC/MAIN CHARACTERS<\i>:
JOHN ILLSLEY (bajista y corista) (bass and choirs)
36 años. 1'95 cm aproximadamente (es el más alto de todas las cabañas, queenies incluidos). Tiene los ojos marrones verdosos y el pelo moreno, bastante rizado. Le gusta pintar en sus ratos libres (de hecho, en la actualidad, es algo que compagina con la música). Lo suyo concretamente es el arte abstracto/figurativo.
36 years old. 1’95 cm approximately (the tallest of all in the huts, queenies included). He has brown-greenish eyes and brunette hair, quite curly. He likes to paint in his spare time (something that he combines with his music nowadays, in fact). His thing is abstract/figurative art specifically.
Es una persona que transmite una calidez inmediata a quien se le acerca. Tiene un carácter sereno, agradable y, a la vez, muestra una firme integridad en cada uno de sus actos. Paciente, pero también tajante cuando la situación lo requiere. Como buen bajista, es notable sin ser invasivo, fundamental para que todo lo importante funcione; y no necesita ocupar un primer plano si encuentra armonía en lo que hace y con quienes lo hace.
He is a person that fill all those around him with warmth. He has a serene, nice character and, at the same time, shows a firm integrity in every one of his actions. Patient, but also firm when the situation demands it. As a good bassist, he is noticeable without being invasive, key for the important things to work; and he doesn’t need to be under the spotlight if he finds harmony in what he does and who he does it with.
MARK KNOPFLER (vocalista y guitarrista principal) (vocals and lead guitar)
36 años. 1'87 cm aproximadamente. Tiene los ojos azules y el pelo rubio (en un tono no muy claro, se nota que es rubio, pero más bien oscurillo). Aunque se crió mayormente en Inglaterra, nació en Glasgow, así que es el único escocés del grupo y de todas las cabañas.
36 years old. 1’87 cm approximately. He has blue eyes and blond hair (not very fair though, you can tell he is blonde, but kind of darkish). Even though he was mostly raised in England, he was born in Glasgow, which makes him the only Scottish both in the band and in the huts.
Es una persona más distanciada de primeras. Tiene una actitud como de tranquilidad desquiciante, y a través de ese carácter mantiene el control de sí mismo y de su entorno. Sin embargo, es también una persona sensible y esto queda patente en su manera de escribir e interpretar música. Como buen cantante/guitarrista, concentra en él todas las miradas y devuelve multiplicada toda esa atención, entregado en cuerpo y alma a aquello y a aquellos que le importan.
He is a more distant person on a first approach. He has a unnerving always-calm attitude, and through that character he keeps control of both himself and his surroundings. However, he is also a sensible person, which makes itself evident in the way he writes and plays. As a good singer/lead guitar, he gets all the eyes upon him and gives that attention back tenfold, passionately dedicated to that and those he cares about.
SECUNDARIOS EN EL FIC/SECONDARY CHARACTERS<\i>:
Dire Straits fue una banda en la que, a excepción de John y de Mark, los miembros cambiaron muchísimo a lo largo de los años. Empezaron en los ‘70 siendo sólo cuatro (entre ellos, el hermano pequeño de Mark, David Knopfler, que fue quien le presentó a John y con el que Mark actualmente ya no se habla), pero en esta etapa del '85 en la que se ambienta el fic, son cinco (obviando a John y Mark, claro). No nos vamos a recrear demasiado en sus personalidades porque para quienes no los conozcan sería demasiada información de golpe. Al estar más bien de fondo, es mejor ir conociéndoles sobre la marcha conforme vaya avanzando la historia. Sin más dilación:
Dire Straits was a band which, save for John and Mark, saw many members come and go along the years. The began in the ‘70s being only four (Mark’s little brother, David Knopfler, among them, which was the one to introduce John to him, and who is no longer on speaking terms with Mark), but in the ’85 period the fic is set, the band has five members (other than John and Mark, of course). We are not going to take too much time introducing their personalities because it would be simply too much info for those who don’t know them. Since they are pretty much background characters, is better to get to know them as the story plays out. So, without further ado:
ALAN CLARK (pianista y teclista más antiguo) (piano and the oldest keyboards)
33 años. Altura desconocida, pero más bajito que Guy seguro. Primer teclista de la banda que se unió en 1980, durante el álbum de Making Movies, y a partir de entonces, se convirtió en uno de los miembros más trabajadores y comprometidos.
33 years old. Unknown height, but shorter than Guy for sure. The first keyboard player of the band, he joined in 1980, during the Making Movies album, and since then he became one of the most compromised and hard-working workers.
GUY FLETCHER (segundo teclista y corista) (second keyboards and choirs)
25 años, el alma más jovencita de todo el fic (y cuya edad los de Queen desconocen por el momento). Altura desconocida, pero bastante alto. Lo ficharon en el ‘84 y fue quien trajo los sintetizadores y un sonido más moderno al grupo.
25 years old, the youngest soul in all the fic (his age being unknown by Queen for now). Unknown height, but quite tall. He joined in 1984 and was the one to bring the synthesizers and a more modern sound to the group.
JACK SONNI (guitarrista rítmico y corista) (rhythm guitar and choirs)
31 años. Altura desconocida (se calcula que unos 1′80 cm). No grabó ningún álbum de estudio, pero sí fue contratado como segundo guitarrista de la gira de Brothers in Arms, y se hizo muy reconocible en el escenario por su energía, su pañuelo en la cabeza y sus pies descalzos. Es el único estadounidense, de ahí que a veces le apoden “el yankee”.
31 years old. Unknown height (around 1’80 cm). He didn’t record any studio album, but was hired as a second guitar player for the Brothers in Arms tour, earning a name for himself due to his energy on stage, his head scarf and his bare feet. He is the only American one, thus him being occasionally referred to as “the yankee”.
TERRY WILLIAMS (baterista) (drums)
37 años. Altura desconocida. Fue el segundo baterista principal que tuvieron y cubrió casi toda la década de los 80, siendo cosecha suya los famosos arranques de su instrumento al inicio de Money For Nothing.
37 years old. Unknown height. He was the second main drummer they had and played during almost the whole decade of the 80’s, his were the famous drum solos at the start of Money For Nothing.
CHRIS WHITE (saxofonista, flautista y corista) (sax, flute and choirs)
30 años. 1′90 cm. Uno de los saxofonistas más fieles y distintivos con los que han trabajado. Al igual que Jack y Terry, no solía grabar en estudio, pero sí acompañaba al sonido de la banda durante las giras de Brothers in Arms y siguientes.
30 years old. 1’90 cm. One of the most loyal and distinctive sax players the band has worked with. Same as Jack and Terry, he didn’t use to record in the studio, but he accompanied the band during the Brother in Arms tour and those that followed.
—¿Por qué no os pasáis por nuestra cabaña? Mira, sólo hay que caminar unos diez minutos en esa dirección. No tiene pérdida. O, bueno, eso depende de las copas que lleves encima.
John Deacon a John Illsley (Capítulo 1: Reencuentro)
El comentario de Brian hizo que los cuatro se pusieran de acuerdo para mirar a Mark a la vez. En consecuencia, pudieron cazar una de esas confidentes sonrisas que le dedicaba al bajista y que éste le devolvía al instante, con una plenitud absoluta, como si Wembley estuviera vacío y ese escenario fuera el lugar más íntimo de toda Inglaterra. Deacy fue el primero en arquear las cejas. Luego Freddie se tuvo que tapar la sonrisa con una mano, y Roger y Brian se voltearon para mirarse.
—Oye, ellos… —el baterista señaló a Mark y a John e hizo un gesto muy gráfico con el puño, y Brian, sobrepasado, le redirigió la cara con las manos de vuelta hacia el espectáculo.
