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Five Times John Wanted to See a Movie, and One Time Kayne Made it Suck - a Malevolent Podcast Oneshot

In which Arthur struggles with right and wrong, bemoans the Hays Code, tries (and fails) to define love, and gets a second chance.

Spoilers up to Malevolent ep. 31.

AO3

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In January, John says, Arthur, I want to see a movie.

“Damn it, John… fine. You know what? Fine! We’ll go sit in the dark and be perfect targets for someone! Is that what you want?”

He gives in, though.

Arthur can be stubborn. He can be foolish in refusal, often saying no just to say it.

But to this?

To an innocent request, almost childlike in its intensity, and in its expectation of reply?

Arthur can’t hold out for that long.

Not when it seems to bring John such uncomplicated joy.

The movie is called Dancing Lady, and Arthur already knows nothing will ever be made like it again once the Hays Code has its way.

It’s a ridiculous love triangle, a “tarnished” woman (a concept Arthur finds absurd) torn between a rich sponsor and a poor lover, both of whom, at least, see her talent for what it is.

There are some scenes in this one. At one point, Clark Gable massages Joan Crawford’s leg, raising it above his shoulder, only hinting at the things that must surely be on display from Gable’s point of view.

Yowza.

It’s hard not to imagine Joan Crawford making the kinds of faces John describes, and Arthur can’t help a little bit of distracting response.

He focuses on his popcorn instead of anything else prone to explode.

“Those guys are a lot of silk hats and silk socks with nothing between,” says Clark Gable on screen, and Arthur laughs.

John huffs. Why are they being so particular about this?

“Particular about what?” says Arthur.

Tod, Patch, Janie. Why the fuck doesn’t she just lie with both of them? Why do they give a fuck?

Arthur is completely taken aback. “Well, it… I mean… she can’t do that.”

Why not?

Arthur has never in his life considered this question.

It’s about offspring, John decides.

“Ah… no, it’s not really—”

They demand monogamy so there can be no question of inheritance.

“She’s a dancing girl. She has nothing to inherit.”

Sure, but Tod does.

“Yes, but… that isn’t it, John.”

Then what is?

Arthur’s really not sure how to answer. What’s he going to say? That it isn’t the Christian thing to do? “I… it just isn’t done that way. Generally.”

Though in his musician days, he witnessed some truly unique romantic configurations.

It’s a lot to think about.

Stupid, pronounces John with fiendish delight, and continues to tell Arthur everything that’s happening on screen even though Arthur does not reply.

In February, John says, Arthur, I want to see a movie.

Arthur sighs. “John. I’ve been fucking stabbed.”

Only a little, says John. The three stitches are fine. You’re fine.

He is fine, honestly. It wasn’t that bad, and in the end, they took out the giant bug-thing that poked him.

He’s pretty sure he isn’t poisoned. Maybe that alone deserves celebration.

Arthur sighs. “Well. I suppose an evening of distraction isn’t such a terrible idea.”

Of course it’s not a terrible idea. It’s mine.

Arthur rolls his useless eyes, but can’t help a little smile.

This movie, though. This movie hits different.

Death Takes a Holiday is about Death himself, who is tired of being misunderstood, and decides to go slumming among humans for a few days to see if he can figure out why.

And he falls in love.

With a human.

Which can’t end well for that poor lady.

Arthur forgets his popcorn.

The drama is absolutely contrived and thoroughly effective. The struggles of the inhuman to understand the human—

The choice of the human to understand the strange—

“And tonight, I must go back to my distant kingdom,” says Fredric March, whose portrayal of Death is passionate, quiet-spoken, and rife with tortured drama.

“Will you take me with you?” says Evelyn Venable, who plays Grazia, the love interest, and whose name means grace.

“Take you?” says Death, who is pretending to be something he is not, who is carrying on a wild con with the goal of… enlightenment? “Take you? I should be so unhappy alone. Take you? Oh, no, no… don’t tempt me. But Grazia, give me one hour of you—let me hold you once, and feel your life.”

Holy shit, Arthur thinks, because he’s pretty sure he knows how Grazia feels.

Sort of. He’s no damsel, and whatever he and John are isn’t romantic, but still?

“Now you see me as I am,” says Death, at last revealed as shadow, as monster, as darkly divine.

“But I've always seen you like that! You haven't changed,” says Grazia.

She chooses him, knowing what he is.

She chooses him, knowing what it will cost.

The music swells, and Arthur finds himself tearing up. “Then there is a love which casts out fear, and I have found it! And love is greater than illusion… and as strong as death!” Death declares.

John cheers. She goes with him! She went with him! Yes, Arthur!

Does John see the parallels, too?

Arthur isn’t brave enough to ask.

He wipes his eyes, amazed, moved. Almost envious of that stupid made-up girl.

Yeah. This one hit different.

He can’t help wondering, silly as it is, if this movie was based on something that really happened.

Death and Grazia, reaching across the gap.

It’s not him and John.

But then, who can say just what they are?

In March, John says, Arthur, I want to see a movie.

Arthur is tired. “Really? Now?”

Why not? We owe ourselves a little treat.

They do, but after Death’s little romance, Arthur’s not sure he’s ready.

He has decided “friend” is the word for them, but only because he doesn’t have a better one.

Its problem is, it’s not strong enough. It’s nowhere near strong enough.

Arthur is well aware that facing off against the damned pallid mask cult again is the reason for his mood, but what he needs to remember is they failed.

He’s alive.

John is still here.

John did not take his exit, his gilt and crafted fire escape, much to the cult’s confusion.

When Arthur destroyed their framework of magic and bone, John cheered him on.

John doesn’t seem to miss them, or regret Arthur’s success.

That means a lot.

Friend? Sure. In lieu of a better word.

Arthur sighs. “What do you want to see?”

Jimmy the Gent is bonkers.

Arthur half wonders if it pushes the bar so hard because the Hays Code is breathing down Hollywood’s collective neck, threatening to end artistic freedom forever.

He also wonders if anyone but James Cagney and Bette Davis could have pulled this plotline off.

Cagney plays an unscrupulous man who seeks out wealthy folks who died without a will, then produces heirs to rake in the moolah—heirs who aren’t even real.

The main conflict is his girlfriend balking at his techniques, bailing to join a competitor, and coming back again when the eponymous Jimmy shows himself to be slightly less wicked than the other guy.

There isn’t actually a hero. It’s not black and white; it may be comedy, but it’s comedy gray.

“The only thing he's got that I want is you, and he took you away from me,” says Jimmy.

Oof. Those are some words to hear, and Arthur struggles not to apply them.

“He's got ethics,” says Davis, the dame Joan.

“I don't care if he has carbuncles. The only difference between him and me is he's got a smoother line,” says Cagney as the eponymous Jimmy.

Haha… ah. Wow.

“You can't make yourself clean by making him dirty,” says Joan, and Arthur’s stomach twists.

Arthur slowly exhales. This is a poor allegory for the King in Yellow and him, isn’t it?

But it maybe isn’t so bad for him and Larson.

He’s a little bit better than Larson. Just a little. Is that enough to make him good?

John, funny enough, doesn’t wrestle with morality at all in this, but has a blast with the humor, and praises the cleverness of the characters. He particularly appreciates the way Jimmy puts on airs to win back his lady love. Goal achieved, intimacy earned, all for the price of a barrel of determination and a pinch of deceit.

Arthur is uncomfortable as fuck, and eats all the popcorn at the film, too much popcorn, and gives himself a stomachache.

Somehow, he feels it is deserved.

In May, John says, Arthur, I want to see a movie.

They end up picking one all about deceit, romance, and false identity.

The Thirty Day Princess is a heck of a ride.

Are you trying to tell me something? Arthur thinks at a god he doesn’t believe in, thinks at the King in Yellow who is and is not John.

“She Reminds Me of You,” croons Bing Crosby as the hero dances with the princess-under-false-pretenses, who’s filling in for her sick counterpart for a total of thirty days.

Who looks exactly like the ill royal, but most definitely is not her.

I'm standing all alone I've got nothing to live for She reminds me of you And she reminds me of you And it breaks my heart in two

Dear fucking gods.

John is not the King in Yellow.

Except that he is.

Arthur hasn’t processed this. Hasn’t figured it out.

I am the King in Yellow, sounds John’s voice in Arthur’s memory, and Arthur ends up physically ill at the end of the film.

John is quite concerned, but Arthur doesn’t know what to tell him when he asks what’s wrong, and leaves all his questions unanswered like unraveling thread.

In September, John says, Arthur, I want to see a movie.

Enough time has passed that Arthur’s resistance has worn down.

He refused two months in a row. He rejoiced (in silence) that the madness with the Order of the Falling Star prevented any such frivolity through August.

But now that’s done, and Kayne has another poorly defined deal that began with an entire group of cultists violently dead, and Percy has Arthur’s blood in a jar for some reason and a promise of future contact, and it’s done.

For better or worse, it’s done.

And it’s quiet.

And John wants to see a movie.

“You know what?” says Arthur, who could use the distraction. "There’s one I want to see, too. Do you know the poets Elizabeth Barret and Robert Browning? Well… Elizabeth wrote some of the most wonderful verse about love and longing that anyone ever has, and apparently, there’s a movie about it, so let’s go see.”

The Barretts of Wimpole Street turns out to be completely not what Arthur expected.

Love disallowed by a sex-repulsed parent, physical illness barring the freedom afforded any ordinary adult, a stressful and creepy scene with incestuous undertones, and a decision to kill a beloved pet dog (which fortunately did not pan out) leave Arthur feeling absolutely weird about the whole thing.

The movie tiptoes a lot about morality, about right and wrong, about societal norms and familial expectations.

At least some of it reminded him of arguments with Daniel, after Bella had come down pregnant.

At least some of it reminded him of arguments with James, the day Faroe was born.

All of it reminded him of whatever he has with John, and he doesn’t know how to interpret that.

Norma Shearer as Elizabeth asking, “Robert, have you ever thought that my strength may break down on the journey?”

Frederick March as Robert answering: “It had occurred to me, yes.”

Arthur feels so very mortal, these days.

“Supposing I were to die in your hands?” she says.

“Are you afraid?”

Yes, thinks Arthur. I’m very afraid.

And then comes the line that hits hardest. “Yes,” says Robert Browning. “I am prepared to risk your life, much more my own, to get you out of that dreadful house and into the sun and to have you for my wife.”

Was that an okay thing to say?

Arthur doesn’t know.

He feels like he and John have each made that decision for each other, more than once.

But nobody’s a wife.

Or something.

He’s not really sure what he’s internally protesting.

“I'm sick of fighting alone. I need a comrade in arms to fight beside me,” Robert says.

“But not one already wounded in battle,” Elizabeth says, who feels lesser, who feels so weak.

“Wounded but undaunted, unbeaten, unbroken. What finer comrade could a man ask for?”

Undefeated.

Arthur swallows hard. Maybe this one was pointed at him, after all.

That was kind of depressing, John pronounces with great cheer as they leave, having enjoyed every moment, and described it all to Arthur in an effort to help him enjoy it, too. I can’t believe he wanted to kill the dog!

“Well,” says Arthur. “Some people are… cruel… when they lose.”

Someone should kill him instead, John says, and he is joking.

Probably joking.

It feels like John’s moral compass is more reliable than Arthur’s own, these days, so Arthur decides to just let that one go.

In October, Arthur says, “John—I want to see a movie.”

Really? You do? You want to hear one, you mean? says John, who’s being clever.

Arthur is able to laugh. “Yes, you whacko.”

John’s pleased. Arthur can feel it. I know you are, but what am I?

Arthur laughs again.

The back-and-forth is ridiculous, but feels so damn good in spite of that. Easy; effortless. Affectionate, knives long stashed.

Three whole weeks have passed since the Rancid Ruby case, and their successful retrieval of the jewel (and the minister’s daughter, whom they hadn’t even known was missing) has brought them enough business and enough income that Arthur has begun to believe John is right: they’re going to be okay.

It’s also put the final nail in the dismissal of their murder case. The minister stood as a character witness, and finally swayed the judge. Who knew?

Parker and Eddie’s deaths have been officially attributed to a burglary gone wrong—backed by Arthur’s wrecked car, miles from the scene; by hospital proof that Arthur, unidentified, had been in a coma; and by Arthur’s indisputable claim of amnesia, causing his disappearance for many months.

Larson is MIA, having been carried off by the monstrous thing he summoned.

The Butcher is retired, having philosophized himself into a monastery, eager for hypocritical redemption and literal flagellation.

Kayne hasn’t called his favor, but right now, it’s hard to look toward that with horror.

Even this latest case worked out, with a wild showdown in Central Park, loads of witnesses, and the Jade MacGuffin returned to its owner.

It’s all coming up roses. Arthur is almost able to hope.

So what did you want to see? says John.

“Well, they’re saying this will be one of the last great movies—the Hays Code, and all,” says Arthur, who has tried to explain it, and shared John’s frustration at the enforcement of false human experience and morality on screen. “It’s about the great Egyptian queen Cleopatra—a tragic love story, and one that’s inspired all manner of art, music, poetry, and more for centuries.”

Sure. Sounds good. The theater on 15th has popcorn, you know.

That’s all Arthur needs to hear.

And it isn’t pointed, it really is not. But it sort of fits how he’s feeling, anyway.

“Together, we could conquer the world,” Cleopatra says, Elizabeth Taylor making every word so sensual that Arthur could drown in any one of them for a week.

“Nice of you to include me,” Warren William’s Julius Caesar replies, and Arthur chuckles, and John says, Hahaha! You can do better! and it’s such a beautiful, perfect shared moment.

And of course, she can do better—in the form of Marc Antony, played by Henry Wilcoxon.

Arthur loses himself in it all, even though he can’t see. The cast is huge. The effects (via John) are jaw-dropping. The music score is moving and expertly done.

When Taylor says, "On. Your. Knees,” Arthur feels some things he really doesn’t know what to do with, but the moment passes quickly.

Cleopatra is everything Arthur wanted in an evening of self-indulgent escape, and John’s continued enthusiasm only makes it more sweet.

Arthur sniffles at the tragic ending, even though he knew it was coming, which Taylor plays to the hilt.

It definitely doesn’t feel pointed like the other movies did. Arthur figures out why when it’s done, while he’s waiting for everyone else to file out so he can leave the theater unhindered.

A lack of communication and irreconcilable core values led to the tragedy on screen.

That’s not him and John. Well, it used to be; but Arthur is certain it’s not anymore.

John says, I think I understand her.

“Her? Cleopatra? How so?”

And with that unnervingly good memory John sometimes demonstrates, he quotes: ‘So Rome would forgive and take you back? And all they demand is for us to part. Why don't they ask the sun to fall right out of the sky?’

Arthur swallows.

That’s how I feel about you, says John, who has never said he loves Arthur, but has shown it, repeatedly and without hesitation.

Arthur has some thoughts on that. "I feel the same,” he says, who has never said those words to John, even though the King in Yellow called him on it months ago.

But Arthur’s fairly sure he’s shown it, too.

He's been thinking a lot about love, of late.

About what it really is, and how it is expressed.

About how the movies usually portray two kinds: romantic, and familial.

This love is neither. It’s different, loaded with unknown spice, broken free from a mold Arthur cannot name.

But it is absolutely real, and Arthur has come to a conclusion that shakes him to his core: he was already willing to die for John, many months ago, yes. But now?

Now, he’s willing to live for him.

Even if Kayne decided to offer me a body, I’m not going anywhere, John says out of nowhere.

“A body?” Arthur isn’t sure where that idea came from. “I doubt he’d do that.”

John says nothing.

Arthur tries to bridge whatever unexpected gap this is, squirming with things in the dark. “It shouldn’t be too difficult to obtain papers for you, if that happened. Make you all legitimate.”

Really. Is that so?

Arthur has to poke. “I’ll say you’re from Montana. That should explain away any obvious social gaffes.”

Gaffes! I’ll have you know I’m far better at handling people than you.

“Well, I suppose we’ll see, won’t we? In this theoretical future that probably won’t happen.”

There’s another slight pause. Arthur frowns.

I want my name on the business, John suddenly says.

Arthur snorts.

Arthur! I’m serious!

“Yes, yes. I don’t see why not.” Arthur is more concerned he might not get his sight back than that John’s name is painted on frosted glass. “Lester and Doe, Private Investigators For Hire.”

Doe and Lester.

“Excuse you. I was in it first.”

But I’m clearly the smarter partner.

Arthur laughs. “You dork.”

And will probably be better-looking, too.

“Now, that’s going too far,” says Arthur, chuckling.

You’ll see. I’ll draw everyone’s attention with my glorious form, and that’ll give you time to riffle their drawers.

“That’s… not a horrible idea, honestly, though there are a few problems with that—namely, you have no body, and even if you did, I’d still be blind.”

Well, I… well, we…

“Gotcha,” says Arthur, smug, because it’s easier to laugh at this possible future than actually deal with any of it, though even the shadow it casts hurts.

You did not. That’s not even a point. Half a point, maybe.

“Lester and Doe, it is,” Arthur says, because it’s fun to poke the bear.

Instead of answering, John gasps.

Arthur knows John. Knows him well. And immediately stops walking.

“You know, just when I think you two can’t get any cuter, you go and wrap a bow on your dicks and call it Christmas,” says Kayne so close that Arthur can feel breath on his lips.

Arthur staggers back a few steps, then stops himself. Running won’t help. “What do you want?”

Kayne must have kept pace with him, because he speaks just as close, an inch away. “It’s your lucky day! Oh, did you tell him, snippet? Did you? I assume you would have by now, I mean, it’s not like you had half a year or something to figure out how to broach the topic.”

Oh, no. What?

It’s like the ground under Arthur’s feet is shaking, ground he’d thought was solid, but hides a deep and jagged fault line. “What is he talking about?”

Arthur, I—

“Too late now!” says Kayne, and there is a whoosh of air.

Arthur staggers. He didn’t move, but he did, and the sounds and smells tell him he’s no longer on the sidewalk, but in an alley.

And then comes a voice he hates.

A drawl, casual and arrogant, and it doesn’t even matter that it’s coming from waist-height, because his immediate urge is to attack it at once like a bird in a mirror.

“Well, this isn’t what I expected,” says Wallace Larson.

Arthur takes a step.

John reaches across his chest and grabs his arm, hard, like a physical restraint.

“Oh, the webs we weave when we practice to deceive,” says Larson, who sounds fine and dandy, if a little shorter than before.

Arthur, says John, evenly. He’s not alone. He’s strapped to a weird, short table, barely fitting into the alley, and his legs are jammed against the wall. And he’s not alone.

And because this wasn’t fraught enough, the next voice is identical.

Identical. But it isn’t John.

You! Murderer!

“Yellow?” says Arthur, shock stealing sound and sense from this moment, tingling through his body so his face feels numb.

Kayne bounces something light off the side of his head.

“What?” Arthur startles.

“Sorry, thought you’d open your mouth for it, like a baby bird. Popcorn?” Another one hits right under his eye.

“Stop it! What are you doing?”

It’s time for justice! Yellow declares.

Oh, shut the fuck up, John snarls.

Traitor! bellows Yellow.

And Larson starts to sing. Insultingly, it is a hymn.

“Bury my body,” Larson croons in a surprisingly pleasing baritone. “Lord, I don't care where they bury my body. Lord, I don't care where they bury my body, ‘cause my soul is gonna live with God.”

Arthur is going to kill him. The rest of this can sort itself out. He takes another step.

“Hold on there, boyo,” says Kayne in the Butcher’s accent, and takes Arthur’s hand. “You’ll need this.”

That is the handle of a knife. A knife, pressed into his right palm, which means Kayne wants him to do this, and that pours cold water all over the whole operation.

The handle burns, but Arthur ignores that.

Go ahead, says Yellow. You’re already a killer. I see it in your eyes. I know you, Arthur Lester!

This can’t be happening.

“It is, though,” whispers Kayne in his ear. “Looks like Little John didn’t tell you anything, did he? That’s a real foundation for trust.”

“What?” says Arthur, who feels stuck like a skipping record.

You don’t know what the fuck you’re talking about, says John.

I do. He confessed. He murdered that man and fucking ATE HIM.

He did that because of you! John roars at Yellow. You’re the one who put him in the pit! You’re the one who sent him the gods-damned cannibal! What did you want him to do, just sit back and be eaten?

“What?” says Arthur, weakly.

Because for Yellow to have done that means—

I did? says Yellow, sounding as confused as if he’d been thocked on his phantasmal head.

“Oh, oh, oh yeah,” sings Larson.

Arthur needs a moment.

“I’m not leaving,” he snaps before anybody can yell at him, and turns to stand at the entrance to the alley, just breathing.

He’s very, very glad he had no alcohol with dinner tonight.

“I dunno, pal, it might’ve helped you out,” Kayne says.

“What is this?” says Arthur.

“Isn’t it clear? No, I suppose it’s not—guess good old Liz (or maybe Henry) redirected the blood from your brain to elsewhere. You’re here to kill your enemy, my boy! End the torment. Flip the switch. Bring that hammer down.”

Arthur swallows. He’s tasting metal again—a thing he’s noticed only happens when he’s on the verge of panic.

Which he is. He doesn’t know what’s going on.

Arthur, I can explain.

“Shhh,” says Kayne, and touches Arthur’s lips.

Arthur tries for him with the knife.

Of course, it only hits brick, jarring his hand. “Ow,” he mutters. “Damn it!”

“He’ll get to explain it all after. For now, however, you, being the key in this situation, being fully entangled with him, and thus, his representative with a physical form, have a job to do.”

“What job? I haven’t agreed to—is this my favor? For killing those cultists?”

Kayne laughs. “No, you sweet thing. It’s his.”

“His?” Arthur’s voice is small.

I… Arthur, I…

Get back here! Coward! Yellow calls from the alleyway.

“I have questions,” says Arthur, but he honestly can’t think of one.

Kayne tsks at him. “I can see you’re in shock, you tender soul, you, so let’s make this simple. Do this, or John’s gone.”

“Gone?” Arthur’s voice cracks.

“Removed. Incised. Purged, if you will. It’s what he agreed to.”

“John?” says Arthur.

This is what you wanted him in New York for? John says, sounding incredulous.

Arthur’s brain has skipped parts of this conversation like it touched an electrical fault, and he blurts, “Yellow is the King in Yellow, isn’t he?”

Kayne laughs. “Wow, are you behind! They’re both the King in Yellow, my darling rose. Snippet, what have you been teaching him? What, nothing? Well, this is on you, then.”

Get back here! howls Yellow. We’re not finished!

“I said all right,” Larson starts singing again. “You know it's alright. It's alright, c'mon.”

And it calms Yellow. It calms the piece of the King in Yellow, the copy of John that Arthur betrayed, that Arthur ruined so badly that he’s refused to think about it because there’s no fixing what went wrong.

“You are correct on that one,” Kayne confirms. “This is fun, and all, but boys… you’re losing my patience. It’s time.”

Arthur finds himself walking back into the alley.

It’s easy to follow Larson’s voice.

To follow the sweet-syrup sound of that most hated man, who is awfully damn calm about this, and that is the one thought that surfaces. “You’re awfully damn calm about this, Larson,” Arthur snarls.

“Of course I am, my boy. I’m about to enter immortality. Little hard not to face that with some sorta joy, given all I paid for it.”

“Paid for it!” Arthur’s voice breaks. “You didn't pay for it! Your daughter did!”

“So did yours,” says Larson, who shouldn’t know that, who must have been told by Kayne. “We both got to where we are through that most unfortunate necessity, didn't we?”

Murderer! Yellow declares.

Six months ago, that would have been it.

Arthur would have lost it. Gone feral, melted into violent goo, stabbed and tore and shouted until he was covered in gore, until Larson was unrecognizable, until the form could compete with Uncle for mess and mayhem and pulp in bad places.

Today, he pauses.

It’s not the same, says John, calm, because this is only for Arthur. You know it’s not. We’ve been over this.

He killed his daughter! says Yellow.

He made a mistake and she died—and what the fuck are you crowing about? Your guy sacrificed his on purpose! One’s an accident and the other isn't! Fuck, how stupid are you? Did I get all the intelligence, is that it?

What? says Yellow, again taken aback, again stuttered to a halt in the middle of rage.

Arthur realizes with a little gut-twist that Yellow is weirdly naive.

Gullible. That’s the word. He just accepts what anybody says in the moment, then applies that black and white, childish morality.

Yellow would not understand half the movies they’d seen of late.

Why? Why was this?

“Because he didn’t get to spend a month all alone, silly,” says Kayne. “Isn’t that neat? It’s all about godhood and nature versus nurture and all that kind of thing. If you’d been awake the whole time, your John would be even screwier than he is. It’s almost like your bad luck scratches the itch of some eager, chaotic observers. Anyway! What’s the hold up? That’s the guy who hurt you, Arty. That’s the guy who made your teeth loose. You really gonna hesitate now?”

That’s the guy means Yellow, not Larson, and this just got more complicated. “What happens to Yellow if I do this?” says Arthur, because he never asked that before, and he should have, and it’s probably too late, but that’s just how his life goes.

“Hm? Oh, he’ll die,” says Kayne.

John gasps.

Shit. “And what happens to John, then?” says Arthur.

“Heck if I know. This is all new territory, which is why I’m being so patient. Don’t want to miss a thing.”

“Lead me, Jesus, lead me,” sings Larson. “Why don't you lead me in the middle of the air, and if my wings should fail me, won't you provide me with another pair?”

“So you’re crackers,” says Arthur. “Barmy. Lost your damned mind. This isn’t Jesus. This is Kayne. He’s not going to do anything good for you.”

Kayne gasps. “Such ingratitude!” And he laughs. “Next, you’re going to say you don’t want your office filled with music boxes.”

Okay, that—

Okay.

Arthur needs another moment.

“You don’t get one,” Kayne whispers in his ear. “It’s time. John didn’t tell you, and I’m glad he didn’t, because you are fucking glorious this upset, but it’s time. Kill him.”

“Why?” whispers Arthur, and means so many things.

Kayne doesn’t bother to reply.

I… Arthur, I….

“Will you be all right, John?”

I don’t know.

Arthur grips the knife. Its burning leather handle creaks, and Arthur accepts the pain in his palm, because something this messy should not be easy.

Yellow gasps. You’re going to do it in cold blood?

“I’m sorry, Yellow,” says Arthur, because Yellow is not really the King in Yellow, any more than John is. “It seems I fucked up for you all over the place.”

You’re a killer. I don’t expect anything better from you.

He’s human, says John. He’s made mistakes, and stayed alive. Your guy’s no better.

Yellow seems stunned again. He’s not?

Larson laughs. “Little guy, it’s all right. This is where it was always going. Why do you think I had to get you to New York? You’re my final step. My sacrifice. Your death’ll elevate me, son. Mister Lester, I’m fully ready. Do the deed. Let’s get this over with. Then, when I’m ascended, and I’m a god, I’ll be sure to stop by and say hi.”

Arthur’s throat is tight. “He can’t be serious.”

“His deals aren’t for you to know,” says Kayne. “Also, you’re out of time.”

“Wait,” says Arthur.

“Say goodbye to John in three,” says Kayne.

“Wait!” says Arthur, who has an idea, who suddenly thinks—

“Two,” says Kayne.

With a choked, miserable sound, Arthur cuts Larson’s throat.

But not with the knife Kayne gave him.

“Oh, foul!” Kayne cries. “Oh! Oh! Cheater!”

Andrew! says Yellow, sounding distraught. Andrew! No! No!

What did you do? says John.

“Improvised?” says Arthur, who has no idea what he’s done, except he had to save John, except the knife Kayne gave him was maybe special, except this complete guess was the only hope he had, and he’d only had time to stuff Kayne’s knife away and grab his own instead.

Larson gargles. He sounds like he’s trying to laugh.

Andrew! Yellow sobs it. Andrew! He doesn’t seem to be dying.

So it worked?

So Larson doesn’t get godhood?

Arthur’s hand is warm with blood. He doesn’t know what to do. He tries to clean that knife inside his jacket, where he hopes it won’t show.

Kayne sighs. Paces.

Kayne punches the wall.

It’s a bad sound, cracking, crumbling. Something inside the building crashes down, and there are screams.

Arthur shakes.

“You know,” says Kayne. “I’ll give you this one. I’ll hand it to you. Didn’t predict it. That’s awful rare. So I’m really pissed at you, and you’ll feel that soon enough—but I can appreciate a good scam.”

“I didn’t pull a scam,” Arthur says, quieter, because Yellow has begun to sob.

It is an ugly sound, wretched, utterly unselfconscious.

He’s doing that because Larson is dead.

It doesn’t feel good. None of this does. Arthur isn’t the same as he was in Addison. “I’m sorry,” he says.

Yellow doesn’t stop crying long enough to answer.

Kayne shoves him suddenly, bruisingly, against the wall. “I am… really… mad at you. I won’t get to pull an experiment like this again for who knows how the fuck long. But… that was the deal. You did the deed. Technically, you’re off the hook. But you, Arthur—you still owe me a favor.”

“I won’t kill Yellow,” Arthur says.

Arthur!

Arthur takes Kayne’s knife back out of his pocket and throws it down, and the clang it makes in the alley is weird, wrong, otherworldly. “I won’t. I’ve done enough to him! Fuck you, I—”

He chokes.

There is a fist is in his throat, impossibly swelling, knuckles distending, expanding, distorting, threatening to tear him from the inside. Can’t swallow around it. Can’t—

It stops.

Arthur gasps, ragged.

“Better idea,” says Kayne, and suddenly, Yellow’s sobbing is inside his head.

“John!” Arthur manages, gagging, terrified John was swapped into the dead man’s body.

I’m here! I—what the fuck?

Leave me alone! Yellow howls.

They’re both in there, equally loud, equally growly, and it’s too much, there is a weight to the fulness of an eldritch god in his brain, and his own soul feels pinched and battered and stepped on, and he can’t breathe, and—

“This should be fun,” he hears Kayne say, and then he passes out.

The arguing is what wakes him.

That doesn’t matter. I don’t care.

Then you’re a hypocrite of the highest order, John snarls.

What does that make you?

Look, you moron, just calling me things doesn’t make it—Arthur! The change in tone is remarkable. Arthur—are you all right? Talk to me, Arthur.

The sharp concern in John’s voice—tenderness mixed with violence, crafted for him.

Arthur recalls Yellow weeping over Larson, and he aches for him, and wonders if his own inner compass has gotten even more broken over the last day. “I’m… I’m here. Fuck, I sound strangled.”

He does. Haggard, raspy.

Larson could out-sing him at this very moment, and he won’t be able to sing to calm Yellow for a while, and that is such an odd thought to have that Arthur’s face burns, and he rolls over to press it into the cool pillow.

Wait. Pillow?

Lucky, says Yellow, low and bitter. Yours woke up.

I told you he would. He’s remarkable.

Andrew was remarkable.

Wallace Larson was a motherfucking cheat who traded children and people’s lives all the time to seem interesting. Arthur does it all on his own.

Arthur feels not all on his own a little too much, right now. “Yellow.”

What? says the new voice, and the tone is fearful, and challenging, and tight.

Is he doing this?

He’s doing this.

Arthur already decided he’s doing this, and he may be many things, but he doesn’t easily change his mind. “I’m sorry.”

Both the voices in his head are still for a moment.

What? they say together.

“I’m sorry. I met you when I was… I was at the worst of myself. I lied to you, and tried to control you, because I was so afraid of losing you again. Losing… John again. Kayne told me you were him, and I thought… you know, it doesn’t matter what I thought. I fucked up, Yellow. I’m sorry.” It feels weak. “That’s all.”

There is a trembling inside, a non-corporeal shaking that feels like maybe the fault line has been transplanted into him.

How dare you? Yellow says.

I told you so, says John.

How dare you lie to me! You just murdered my… you killed him!

Arthur sighs. “I did. I wasn’t letting John get taken. No matter what shape I’m in, that’s… just how it’s going to be.”

That trembling again.

Larson was ready to sacrifice you, like I said—but you’re safe now, says John to Yellow, which Arthur did not expect. You’re me. He won’t hurt you.

That’s more faith in Arthur than Arthur has for himself.

I’m not you. We can’t even merge, Yellow says.

“You can’t?” says Arthur, who’d forgotten that was a thing until this moment.

No. We… we’ve both changed too much. We can’t.

There is sorrow in John’s voice, deep and aching, a finality that communicates loss Arthur can’t fully comprehend.

It’s a farewell to a thing Arthur cannot even imagine needing.

He has no idea how to engage with it, so he goes for familiar ground. Not a poem, but the movie they just saw—a way to say, I love you, without saying those words. “‘You choose me, Cleopatra, against the world,’” he says.

John practically surges to respond. ‘Then we'll meet it! We'll smash it to pieces, put it together again and call it ours!’

Yellow is, understandably, confused. You’re going to smash the world?

“No, we… no. It’s a movie.”

What’s a movie?

John scoffs. Your asshole of a guy didn’t even take you to see a movie? We’ve seen six in just a few months!

But what is one? I want to see one! What is it?

Arthur is not going to see a movie right now. He feels like his head weighs a thousand pounds. “How did I get to a bed? Did Kayne bring me here?”

There is a distinctly guilty pause. So, says John. When you’re fully unconscious, uh. We. Um.

We have control of your hideous form, Yellow informs him. You’re in your hotel room.

“What? Wait, what?” Arthur sits up. He feels the same. Blind, left hand and foot numb. Head too heavy, but—“What?”

When you’re unconscious, repeats John, we have control. So we got you out of there, because there’s a dead body, and we don’t need to face the police again.

Cowards, both of you, says Yellow.

Maybe he should take Yellow to see some morality plays before the movies, or something. “Where’s the knife? It had my fingerprints.”

Fucking Kayne took it back. It was weird, Arthur. I’m glad you couldn’t see it. Even with me looking through your eyes, they bled.

Arthur stiffens and reaches up. Sure enough, there are dried tracks of blood from his eyes down his neck. “Fuck. Can you see?”

Yes. You seem all right. Just… that knife was bad.

Why—Yellow stops.

“Why what?”

Why didn’t you use it?

Arthur’s not sure he’s in any shape to verbalize this. “What I did to you before wasn’t right. What Larson was doing to you now wasn’t right. It’s time someone didn’t do the wrong thing by you, is all.”

Silence in response.

Whatever that means.

Arthur stands, shaky as a newborn lamb, and feels his way to the bathroom. He strips as he goes, dropping clothing in a trail.

Is it time for a rite? says Yellow, oddly hopeful.

Rite?

He’s naked.

So?

This is too weird, and Arthur does not engage. He turns on the shower.

But… humans get naked for rites.

John scoffs. He told you that? What the fuck?

They don’t get naked for rites? Yellow sounds lost again.

“So what you’re telling me is fucking Larson never washed his arse,” Arthur mutters, and John laughs.

Don’t you know anything about humans? says John then, disgusted.

Of course I do! More than you!

They are clearly going to be at this for a while.

Arthur lets them, hoping they tire themselves out.

He’s scraped from the bricks in the alley. Bruised from Kayne’s manhandling, and, he thinks, inside his throat. His right hand, disturbingly, seems to have been slightly burned where he held that weird knife. He can’t be sure, but he thinks he’s lost his fingerprints.

But he’s okay. He made it.

He always makes it.

And for the first time in his life, weirdly, he feels like he might have a second chance at something he truly fucked up.

They’re still fighting about naked humans. It’s obviously a cleansing rite!

You’re a moron!

“Yellow,” says Arthur. “I’m sorry you lost your person. He was a monster, but… I get it, and I’m sorry. Good, bad—they don’t matter when there’s grief.”

Another trembling pause as the steam rises, and Arthur washes away the blood, the sweat, the dubious stickiness he finds where Kayne grabbed him through his suit jacket.

I… didn’t like it, says Yellow, soft.

“I know. I think we’ve all… we’ve all gone through some loss here, through no fault of our own.”

Don’t tell me you feel bad for taking that fucker out, says John. You’ve been wanting him dead for months.

Arthur knows clarification is needed, and it is the hardest thing to do, but he has to make this second chance count. “Since I learned he sacrificed his daughter for power, yes. It made me think of losing my little girl, and though that was… that was an accident, I couldn’t… imagine someone doing it on purpose. I went a little insane.”

A little? scoffs John.

“A lot insane, then. Still. Yellow wouldn’t have landed in him at all if I hadn’t been such an ass.”

Actually, says John. About that.

Arthur has been thinking. “You made a deal with Kayne.”

I… yes.

Why? says Yellow.

To get back to Arthur.

Why? Yellow says.

He’s mine, says John.

“And, what? It was just about getting me to New York?”

Yes. He said if I did that, I could stay in you. He even hinted he might give me a body, if I paid his debt right, though it wasn’t… worded clearly. If I failed, and couldn’t get you to New York, I’d… I’d go back to the Dark World. But then we were here, and nothing happened, and I… I sort of hoped he’d forgotten.

“You could’ve told me.” It hurts a little. More than a little.

I’m sorry.

Arthur sighs. “I forgive you. We made it through. Just tell me anything else like that, all right?”

I will. I promise.

Yellow is quiet.

Arthur has no idea how this conversation might stack up against whatever else Yellow has heard.

He dries off and limps back to the bed, where he falls face-first into the pillow. “No joyrides while I’m out. I need rest.”

You adapted to that news pretty quickly, says John, suspicious.

“I have not adapted at all. I’m simply too damn tired to engage with it right now. Tomorrow, I’ll have a proper panic over it, but for the next few hours, I mean it. No joyrides.”

Fine. No joyrides.

But what if we—

We promised. No joyrides.

I didn’t promise, Yellow grouses.

I did, and we are both the King in Yellow, and that’s our word. Shut up.

They are never going to stop.

Weirdly… it’s not that hard to tune them out.

It reminds Arthur of the strangest thing: those noisy, chaotic, wonderful days when Faroe’s “friends”—really just toddlers her age, in the neighborhood—came over, and everybody was yelling and squealing and laughing and demanding, and all the other parents (mothers, they were all mothers, and Arthur never fit in) clustered like chortling geese to add to the ruckus.

And it shouldn’t have been peaceful, but it was.

It shouldn’t have been the kind of noise he could sink into, but it was.

Why this is like that, Arthur doesn’t know.

Maybe he doesn’t need to know.

For some reason, John is now telling Yellow the plot of The Thirty-Day Princess. And then the Baron said, ‘We are on a wild goose egg!’

Yellow laughs.

Is it safe, to leave them unmonitored like this?

Then again, maybe they need it.

Arthur certainly needs it.

He has no idea what to do with this. He has no idea if he can keep them both in there. His skull feels oddly… strained.

But now, right now, he needs sleep.

John promised no joyrides. (Arthur will deal with that horror tomorrow.)

John’s promise, in spite of today’s unpleasant surprise, is good enough.

Yellow’s grief is real. That’s going to take time to navigate. Arthur feels he owes that much.

So… is everyone safe now? At least until Kayne returns?

Maybe.

Arthur doesn’t know how this works, and he’s no longer arrogant enough to assume he ever will.

Maybe he doesn’t have to know.

Maybe it’s enough to survive, and listen, and forgive, and try to make up for mistakes.

To take his chance to make up for one, and hold it with all his heart.

Arthur drifts off to the sound of John’s attempt at a Ruritanian accent.

Maybe it really is coming up roses, after all.

--------

NOTES

Of course, I had to do ridiculous research for this so it would all be accurate.

It's part of my self-indulgence. Hush.

Dancing Lady on Wikipedia, and you get to see the scene that made poor Arthur hot and bothered right here on YouTube.

Death Takes a Holiday is on YouTube in terrible resolution here, BUT if you skip to 1:04:44, you get to see where Grazia chooses to go with Death.

The romp that is Jimmy the Gent. The quip about ethics and carbunkles is right here, at 1:25.

The Thirty Day Princess was hard to track down, but I found a solid review of it, a clip of the Ruritanian accent, and of course, Bing Crosby's She Reminds Me of You.

The Barretts of Wimpole Street, including that DEEPLY uncomfortable clip where the father seems to think all sex is evil, then gets weirdly handsy with his daughter. Yowza.

Oh, Cleopatra... they don't make movies like this anymore. On. Your. Knees.

As for Yellow... well, I saw how he responded to Larson at the end of 28. He just... accepted whatever Larson said - weirdly innocent about it, which made Larson even creepier to me. I sort of figured without a chance to reset and think (like John had during the coma), he wouldn't be able to grow the same way.

The hymn Larson was singing, My Soul is Gonna Live With God. In your dreams, asshole.

#malevolentpod #malevolent fic #malevolent podcast #malevolent #malevolent kayne #arthur lester #john doe malevolent #malevolent fanfic #malevolent arthur #john malevolent #malevolent fanfiction

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the-hottest-band-tournament · 1 month

Text

Band lineups

This will include all the band and what lineups have been submitted. It will be updated as more submissions come in. (Not complete at all)

Guns’N Roses: Axl Rose, Slash, Izzy Stradlin, Duff McKagan and Steven Adler

Mötley Crüe: Vince Neil, Mick Mars, Nikki Sixx and Tommy Lee

Queen: Freddie Mercury, Brian May, John Deacon and Roger Taylor

Hanoi Rocks: Michael Monroe, Andy McCoy, Nasty Suicide, Razzle and Sami Yafta

Iron Maiden: Bruce Dickinson, Dave Murray, Adrian Smith, Steve Harris and Nicko McBrain

Poison: Bret Michaels, C.C. Deville, Bobby Dall and Rikki Rockett

Rush: Geddy Lee, Alex Lifeson and Neil Peart

Anthrax: Frank Bello, Joey Belladonna, Scott Ian, Charlie Benante and Dan Spitz

Possessed: Jeff Becerra, Mike Torrao, Larry LaLonde and Mike Sus

Bon Jovi: Jon Bon Jovi, David Bryan, Tico Torres, Alec John Such and Richie Sambora

Skid Row: Sebastian Bach, Dave Sabo, Scotti Hill, Rachel Bolan and Rob Affuso

Talking Heads: David Byrne, Chris Frantz, Tina Weymouth and Jerry Harrison

Warrant: Jani Lane, Joey Allen, Erik Turner, Steven Sweet and Jerry Dixon

The Cure: Robert Smith, Simon Gallup, Lol Tolhurst, Roger O'Donnell, Porl Thompson and Boris Williams

The Bangles: Susanna Hoffs, Vicki Peterson, Debbi Peterson and Michael Steele

Def Leppard: Rick Savage, Phil Collen, Steve Clark, Rick Allen and Joe Elliott

The Traveling Wilburys: Nelson Wilbury (George Harrison), Otis Wilbury (Jeff Lynne), Charlie T. Wilbury Jr (Tom Petty), Lefty Wilbury (Roy Orbison), Lucky Wilbury (Bob Dylan)

U2: Bono, The Edge, Adam Clayton and Larry Mullen Jr.

Dokken: Don Dokken, Mick Brown, Jeff Pilsen and George Lynch

Blondie: Clem Burke, Jimmy Destri, Nigel Harrison, Deborah Harry, Frank Infante and Chris Stein

Duran Duran: Simon Le Bon, Nick Rhodes, John Taylor, Andy Taylor and Roger Taylor

Quiet Riot: Kevin DuBrow, Carlos Cavazo , Rudy Sarzo and Frankie Banali

Aerosmith: Steven Tyler, Joe Perry, Brad Whitford, Tom Hamilton and Joey Kramer

Dio: Ronnie James Dio, Vinny Appice, Jimmy Bain and Vivian Campbell

Metallica: James Hetfield, Kirk Hammett, Cliff Burton and Lars Ulrich

Winger: Kip Winger, Reb Beach, Paul Taylor and Rod Morgenstein

The Human League: Ian Burden, Philip Oakley, Susan Ann Sulley, Joanne Catherall, Jo Callis, Jim Russell and Philip Adrian Wright

The Clash: Joe Strummer, Mick Jones, Paul Simonon and Topper Headon

Cinderella: Tom Keiffer, Eric Brittingham, Jeff LeBar and Jim Drinec

Nirvana: Kurt Cobain, Krist Novoselic and Chad Channing

The Smiths: Morrissey, Johnny Marr, Andy Rourke and Mike Joyce

The Police: Sting, Andy Summers and Stewart Copeland

They Might Be Giants: John Linnell and John Flansburgh

Bruce Springsteen and the E Street Band: Bruce Springsteen, Clarence Clemons, Garry Tallent, Roy Bittan, Danny Federici, Max Weinberg, Nils Lofgren and Patti Scialfa

R.E.M.: Bill Berry, Peter Buck, Mike Mills and Michael Stipe

Spın̈al Tap: David St. Hubbins (Michael McKean), Nigel Tufnel (Christopher Guest), Smalls (Harry Shearer), Viv Savage (David Kaff) and Mick Shrimpton (Ric Parnell)

Tin Machine: David Bowie, Reeves Gabrels, Tony Fox Sales and Hunt Sales

Red Hot Chili Peppers: Anthony Kiedis, Flea, Chad Smith and John Frusciante

ZZ Top: Billy Gibbons, Dusty Hill and Frank Beard

AC/DC: Brian Johnson, Angus Young, Malcolm Young, Cliff Williams, Phil Rudd

Beastie Boys: Adam "Ad-Rock" Horovitz, Adam "MCA" Yauch and Michael "Mike D" Diamond

Depeche Mode: Dave Gahan, Martin Gore, Alan Wilder and Andy Fletcher

The Pogues: Shane MacGowan, James Fearnley, Jen Finer, Terry Woods, Peter “Spider” Stacy, Andrew Ranken, Darryl Hunt and Philip Chevron

Bauhaus: Peter Murphy, Daniel Ash, Kevin Haskins and David J

Prince and the Revolution: Prince, Bobby, Brown Mark, Wendy Melvoin, Lisa Coleman and Matt "Dr." Fink

Joy Division: Ian Curtis, Bernard Summer, Peter Hook and Stephen Morris

Fleetwood Mac: Lindsey Buckingham, Stevie Nicks, Christine McVie, John McVie and Mick Fleetwood

Devo: Gerald Casale, Mark Mothersbaugh, Bob "Bob 1" Mothersbaugh, Bob "Bob 2" Casale and Alan Myers

Van Halen: David Lee Roth, Eddie Van Halen, Michael Anthony and Alex Van Halen

Van Halen (Hagar era): Sammy Hagar, Eddie Van Halen, Michael Anthony and Alex Van Halen

Led Zeppelin: Robert Plant, Jimmy Page, John Paul Jones and John Bonham

Joan Jett and the Blackhearts: Joan Jett, Ricky Byrd, Gary Ryan and Lee Crystal

Genesis: Tony Banks, Mike Rutherford and Phil Collins

Primus: Les Claypool, Larry "Ler" LaLonde and Tim "Herb" Alexander

Ramones: Joey Ramone, Johnny Ramone, Dee Dee Ramone and Marky Ramone

Yes: Jon Anderson, Trevor Rabin, Chris Squire, Tony Kaye andAlan White

Siouxsie and the Banshees: Siouxsie Soux, Steven Severin, Budgie and John McGeoch

Kraftwerk: Ralf Hütter, Florian Schneider and Karl Bartos

The Alan Parsons Project: Alan Parsons and Eric Woolfson

Hall and Oates: Daryl Hall and John Oates

Echo and the Bunnymen:Ian McCulloch, Will Sergeant, Les Pattinson and Pete De Freitas

Tears for Fears: Curt Smith, Roland Ozabal, Ian Stanley and Manny Elias

The Psychedelic Furs: Richard butler, Tim butler, John Ashton and Vince Ely

Misfits:Glenn Danzig, Doyle Wolfgang von Frankenstein, Jerry Only and Arthur Googy

Living Colour: Corey Glover, Vernon Reid, Muzz Skillings and Will Calhoun

XTC:Andy Partridge, Colin Moulding and Dave Gregory

Adam and the Ants: Adam Ant, Marco Pirroni, Merrick, Terry Lee Miall and Gary Tibbs

Run-DMC: Joseph "Run" Simmons, Darryl "D.M.C." McDaniels and Jam Master Jay

King Crimson: Adrian Belew, Robert Fripp, Tony Levin and Bill Bruford

Public Enemy: Chuck D, Flavor Flav, Terminator X, The Bomb Squad and Professor Griff

KISS: Paul Stanley, Gene Simmons, Eric Carr and Bruce Kulick

N.W.A.: Eazy-E, Ice Cube, MC Rend, Dr. Dre , DJ Yella and Arabian Prince

Whitesnake: David Coverdale, John Sykes, Neil Murray, Aynsley Dunbar and Don Airey

Black Sabbath: Ronnie James Dio, Tony Iommi, Geezer Butler and Bill Ward

Deep Purple: Ian Gillan, Ritchie Blackmore, John Lord, Roger Glover and Ian Paice

L.A. Guns: Phil Lewis, Tracii Guns, Mick Cripps, Kelly Nickels, Nickey Alexander and Steve Riley

W.A.S.P.: Blackie Lawless, Chris Holmes, Randy Piper and Tony Richards

The B-52’s: Kate Pierson, Cindy Wilson, Fred Schneider, Ricky Wilson and Keith Strickland

Vixen: Jan Kuehnemund, Janet Gardner, Share Ross and Roxy Petrucci

The Go Go’s: Belinda Carlisle, Jane Weidlin, Charlotte Caffey, Gina Schock and Kathy Valentine

The Residents: Hardy Fox, All other members have remained anonymous by choice, instead performing with masks on. There are four active Residents in live shows, though it is unknown how many have joined or left the group or been active at any given time.

Pretenders: Chrissie Hynde, Robbie McIntosh, Malcolm Foster and Martin Chamber

Tom Petty and the Heartbreakers: Tom Petty, Mike Campbell, Benmont Tench, Howie Epstein and Stan Lynch

Asia: John Wetton, Geoff Downes, Steve Howe and Carl Palmer

Jethro Tull: Ian Anderson, Martin Barre, Doane Perry, Peter-John Vettese and Dave Pegg

Green Day: Billie Joe Armstrong, Mike Dirnt and John Kiffmeyer

Journey: Steve Perry, Neal Schon, Gregg Rolie, Ross Valory and Steve Smith

Wham!: George Michael and Andrew Ridgeley

Pet Shop Boys: Chris Lowe and Neil Tennant

The Who: Roger Daltrey, Pete Townshend, John Entwistle and Kenney Jones

Scorpions: Klaus Meine, Rudolf Schenker, Matthias Jabs, Francis Buchholz and Herman Rarebell

Heart: Ann Wilson, Nancy Wilson, Howard Leese, Mark Andes and Denny Carmassi

Ratt: Stephen Pearce, Robbin Crosby, Warren DeMartini, Bobby Blotzer and Juan Croucier

The Beach Boys: Mike Love, Al Jardine, Carl Wilson, Bruce Johnston and Brian Wilson

Queensrÿche: Geoff Tate, Michael Wilton, Chris DeGarmo, Eddie Jackson and Scott Rockenfield

The Cars:

Foreigner:

Marillion:

GWAR:

Max Webster:

Twisted Sister:

Stray Cats:

Megadeth:

The Stone Roses:

Slayer:

Operation Ivy:

Bam Bam:

Cybotron:

#80s bands #hottest 80s band tourney

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