As Peter Hince recalled:

“The video for I Want To Break Free was done over two days, a brave tongue-in-cheek move by the band, well received… except in America, where it marked the beginning of the end for their popularity. The second day was the dressing-up in drag day. Fred revelled in it, and the others got into the spirit surprisingly well. John was happy as a grumpy old grandmother but refused currants and sultanas for warts. Brian, though convincing, was unlikely to change careers, and Roger was just a bit too convincing as he shaved his legs for his schoolgirl role. The atmosphere was very good and everyone appreciated that rock stars could make fun of themselves.

“The following morning, I flew to Japan with John, Roger and his assistant Crystal for a three-week promotional tour of the Far East, Australia and Los Angeles for The Works. The other single from The Works was ‘It’s a Hard Life,’ a grand pompous affair the band hated, done at Arri studios in Munich. Fred’s deep-pink, shiny outfit made him look like an overcooked tandoori king prawn.”

The images offer a rare behind the scenes look at that moment, not just the performance, but the atmosphere around it.

Peter Hince began his career in the music business in 1973 as an eighteen-year-old roadie working with David Bowie. Later that year, while touring with Mott the Hoople, he first encountered the then-unknown band Queen, who were supporting the group on their UK tour. During this period, Hince also worked on tours for artists including Lou Reed, Mick Ronson, Supertramp and Roxy Music, among others prominent in the 1970s music scene.

In the summer of 1975, as Queen recorded A Night at the Opera, Hince joined the band full-time. He served primarily as roadie to Freddie Mercury and bassist John Deacon, later becoming head of the band’s road crew. During his more than a decade with Queen, Hince developed a passion for photography. Trusted by the band, he was frequently able to capture set-up and candid moments in the studio, during rehearsals, on video shoots and behind the scenes on tour. Many of these photographs were subsequently used internationally on album sleeves, single covers, posters and other promotional material.

Following Queen’s final tour in 1986, Hince left the music industry and turned his long-standing hobby into a successful career as a photographer. He went on to win awards for his advertising work as well as for his distinctive black-and-white underwater photography. Throughout this period he remained close to Queen, particularly Freddie Mercury, photographing Mercury’s solo projects and attending many of his private events and gatherings.

Based in London and Munich, Peter Hince continues to write, manage his photographic archive, and appear as a corporate and guest speaker on Queen and the music business of the 1970s and 1980s.

During the 1970s, Chaplin solidified her reputation as a powerhouse of international arthouse cinema and Hollywood New Wave filmmaking. Moving away from the mainstream fame of her breakout role in Doctor Zhivago (1965), she spent the decade collaborating with legendary auteur directors across Europe and the United States.

Chaplin’s most significant artistic partnership of the decade was with Spanish director Carlos Saura, who was also her life partner at the time. Together, they made several highly acclaimed, politically charged films that critiqued the psychological landscape of Spain during the end of Francisco Franco’s dictatorship.

She played a foreign governess who exposes the deep hypocrisies and repressions of a wealthy Spanish family in Ana and the Wolves (1973). In Saura’s universally praised masterpiece Cría Cuervos (1976), she pulled double duty, portraying both the adult version of the protagonist and her deceased mother. Elisa, vida mía (1977) and Mama Turns 100 (1979) cemented her status as an icon of Spanish cinema, earning her immense critical respect in Europe.

In the mid-to-late 1970s, Chaplin made a triumphant splash back in American cinema by becoming a core member of director Robert Altman’s creative circle. She played Opal, a hilariously chatty and intrusive BBC reporter, in Nashville (1975). Her performance earned her a second Golden Globe nomination. She teamed up with Altman again, playing the historical figure Annie Oakley in Buffalo Bill and the Indians (1976). She continued her streak in Altman’s sprawling ensemble comedies as a meticulous wedding planner in A Wedding (1978).

Chaplin also served as a frequent muse for Altman’s protégé, Alan Rudolph, and jumped into commercial European blockbusters. Her nuanced performance in Welcome to L.A. (1976) earned her a prestigious BAFTA Award nomination. She starred as a vengeful ex-convict in the tense psychological thriller Remember My Name (1978). In high-adventure mainstream cinema, she brought regal elegance to the role of Queen Anne of Austria in Richard Lester’s hits The Three Musketeers (1973) and The Four Musketeers (1974).

By fluent mastery of English, French, and Spanish, Geraldine Chaplin spent the 1970s proving she was far more than Charlie Chaplin’s daughter, carving out a distinct identity as one of the most versatile and courageous international actresses of the decade.

Furious over the Centralia Massacre, Union forces tasked Lieutenant Colonel Samuel P. Cox with hunting Anderson down. On October 26, 1864, Cox lured the guerrillas into an ambush near Albany, Missouri. Anderson charged directly into the line of fire and was shot twice in the head, dying instantly.

Union forces brought his body to Richmond, Missouri, parading it through the streets in triumph. To provide undeniable propaganda proof to the public that the notorious terrorist was dead, local photographer Robert B. Kice propped his corpse into a chair, arranged his hair, and placed a revolver in his hand. The photographs were widely distributed across the border states. Following the photo session, Union soldiers reportedly dragged his body through the streets, decapitated him, and buried him in an unmarked field. Decades later, in 1908, his former subordinate Cole Younger returned to give him a proper burial in Richmond’s Pioneer Cemetery.

Released in June 1980 as the second single from her third studio album, Never for Ever, “Babooshka” became one of Kate Bush’s biggest global hits, reaching No. 5 on the UK Singles Chart and top-10 positions across Europe and Australia.

While “babushka” is the Russian word for “grandmother,” Bush later admitted she didn’t realize the meaning at the time. She chose it purely for its rhythmic, evocative sound to serve as the pseudonym chosen by the jealous wife sending secret love letters to her own husband.

“Babooshka” features one of the earliest prominent uses of the Fairlight CMI synthesizer’s digital sampling capabilities. The dramatic, shattering glass sounds during the song’s climax were recorded by dropping crockery and glass in the studio, then sampled and sequenced onto the keyboard. The single was backed with “Ran Tan Waltz,” a tragicomic track about a man complaining about his drunken, neglectful wife, contrasting the dark romance of the main track.

Never for Ever debuted at No. 1 on the UK Albums Chart shortly after the single’s release, making Bush the first British solo female artist to top the UK album chart and the first female artist to enter the chart straight at No. 1.