#emy rogers

[cannedbluesblog]

EMI Records photograph of Pink Floyd’s original lineup

[courseyoulovemeyoudontknowme]

Bohemian Rhapsody (2018, Bryan Singer)

16/08/2024

[freddiemercurylegendabovelegends]

Today, on July 16th, 1984 - Queen Story!

Queen released 'It's A Hard Life' bw 'Is This The World We Created…?' single EMI in the UK, taken from 'The Works' album

- 'It's A Hard Life' written by Freddie Mercury

The intro is based on aria "Vesti La Giubba" from the opera Pagliacci by Italian opera composer Ruggero Leoncavallo

- 'Is This The World We Created…?'

Co - written by Freddie Mercury and Brian May

🔸"To my mind this is one of the most beautiful songs that Freddie ever wrote. It's straight from the heart, and he really opened up during the creation of it, I sat with him for hours and hours and hours just trying pull it away and get the most out of it. It's one of his loveliest songs"

- Brian May

📸 Pic: 1984 - Freddie Mercury photo session promotional video 'I'ts A Hard Life'. Recorded in June 1984, director Tim Pope, and filming location at Arri Film Studios, Munich, Germany

[allthe-queens-men]

[myvinylplaylist]

Pink Floyd: The Wall (Music From The Film) 7” UK Single (1982)

First issue of HAR 5222, with 6-panel fold-out colour heavy-card sleeve.

Track B is a different version of the song appearing on "The Wall" album.

© 1979 Pink Floyd Music Publishing Ltd.

℗ 1982 Original sound recording made by Pink Floyd Music Ltd.

Some copies had a sticker on the reverse which read "MANUFACTURERS PROPERTY NOT FOR SALE"

Manufactured in the UK by EMI Records Ltd.

[debdarkpetal]

Very early promo card EMI.

Via Queen Rare Archive on Facebook.

[applebees4prez]

The Freddie Mercury biopic is soooo bad though because it's not accurate 😭 their ( his and the rest of the band's)real life was so much more interesting. But I guess nuance has no place in Hollywood so instead of showing strained relations they outright broke the band in the movie ( also Freddie was the 3rd member to release the solo project irl lmao )

yeah people don't care as much about truth as they do spectacle and well. they got spectacle. i was such a huge fan when the movie first came out but that was because he was one of my first queer icons and i thought it was accurate. also i'm pretty sure that brian may and roger taylor had more control over the movie than most anyone else so of course they wanted to look good. these music biopics all follow the same skeleton in order to catch attention and get people to watch them. execs don't care about creativity or novelty or nuance and certainly don't give a shit about the people that these movies are about. it's about money to them. they would rather take a beloved icon and mess up their life story than come up with something new. i will never stop complaining about hollywood churning out sequels and prequels and remakes and live action retellings and of course, biopics. i understand the desire from a creator to tell the story of someone they admired, but that's not where these are coming from.

[emilx311]

You’ve got to be taught to hate and fear,

You’ve got to be taught from year to year,

It’s got to be drummed in your dear little ear—

You’ve got to be carefully taught!

You’ve got to be taught to be afraid

Of people whose eyes are oddly made,

And people whose skin is a different shade—

You’ve got to be carefully taught.

You’ve got to be taught before it’s too late,

Before you are six or seven or eight,

To hate all the people your relatives hate—

You’ve got to be carefully taught!

You’ve got to be carefully taught!

-You've got to be carefully taught from South Pacific by Rogers and Hammerstein

This photo was taken over 20 years ago by Todd Robertson during a KKK rally in northeast Georgia. One of the boys approached a black state trooper, who was holding his riot shield on the ground. Seeing his reflection, the boy reached for the shield, and Robertson snapped the photo.

I think the officer’s expression says it all. This child standing before him is being taught how to hate even though he doesn’t understand it. He probably doesn’t understand the difference between this and Halloween.

[egoschwank]

al things considered — when i post my masterpiece #1175

first posted in facebook april 5, 2023

paul burlin -- "series of nine, #7" (1969)

"in the process of making a painting in an abstract way, the painter is in search of a reality. not one of realistic objects, but of the complete end result. the painting is experienced as a whole, and must evoke in the painter the absolute conviction that this is how it should be and no other way" ... paul burlin

"number nine, number nine, number nine, number nine, number nine, number nine, number nine" ... an EMI engineer's testing voice [edited and used by the beatles]

"we live in an age of treacherous, harrowing notions of mutability, death and decay … all of the old realities have dissolved … all rigidities of form disappear and enter into a new metamorphosis. this metamorphosis of form and reality is manifested in shape and color, which destroy visual reality and … shape themselves into a reality of their own" ... paul burlin

"engine, engine number nine coming down the railroad line i know she got on in baltimore a hundred and ten miles ain't much distance but it sure do make a difference i don't think she loves me anymore" ... roger miller

"in the 1950s, burlin began to lose his sight. in the next ten years he underwent eight cornea implants. his despair at losing his sight was often a theme in his work. he painted, even at the times when he was declared legally blind. in a respite from the darkness, he painted 'the series of nine' very near the end of his life. paul burlin died in 1969. the nine final paintings, which summarize and celebrate the life of the painter were shown at the NY MOMA in 1971, and at the pasadena museum in 1972" ... wikipedia

"number one" ... [my voice, unedited, unrecorded but used here by] al janik

[changingplumbob]

Foster Household: Chapter 9, Part 10

Darwin: Are we going to game or what

Carson: Just let me send this selfie first

William grabs the seat by Onyx while Carson and Darwin get the spots in front of the screen.

Darwin: I can’t believe we have to have more classes with Mrs H

William: She is the senior teacher

Onyx: And the senior grump

Carson: I’m always worried she’ll give me detention again

William: I thought you were getting help for the OCD

Onyx: Don’t need to have OCD to be worried about her, I’m worried about her. Darwin you’ve got to try curb your antics when she’s teaching us

Darwin: Now where would be the fun in that

Carson: How about not getting your friends sentenced with detention by association

Darwin: Fair point. Oh come on, who threw that banana?

Onyx bursts in to laughter and Darwin throws a cushion at them.

William: Good game folks. See you all at school tomorrow

Onyx: Yeah I better see if my parents are ready to go

Carson: Any headway with Anya lately

Darwin: *sighs* I wish, she’s left me on read for two days now. How about your girl

Carson: *laughs* She’s not my girl

Darwin: She’s pretty, maybe she should be you know? It doesn’t matter that she’s younger if you like her, that's what I tell myself about Anya

Harvey: I think that dinner was a success

Kayleigh: So do I! Oh Reece called while you were doing the dishes and he and Samir are fine to come stay. Plus I let him know Carson and Charlie know about the werewolf business

Harvey: Did Carson faint with shock

Kayleigh: *laughs* No so I guess we were wrong about that

Harvey: We’ll have to keep an eye on him during the visit. Make sure he doesn’t get stressed about a werewolf being under the same roof

Kayleigh: Will you be stressed

Harvey: Not if he gives me grandbabies

After his normal morning routine Carson was delighted to see a text from Ariadne pop up on his phone.

Ariadne: Great news! They’ve opened the rink at school

Carson: How is that great news

Ariadne: Because I’ve been dying to go ice skating so bring your skates

Carson: They weigh a lot

Ariadne: Never let a little weight put you off! I like things with a little weight to them

Carson: Okay, okay, I concede

At school the news of the rink opening had gotten around and several kids had brought their skates. Carson found Ariadne at the edge of the rink looking at them with awe.

Carson: Have you ever actually skated before?

Ariadne: Carson, you're here! When I was little my grandmother took me a few times but... it has been a while

Carson: Maybe it’ll be like riding a bike and you’ll remember

Ariadne: I hope so. I'd rather not fall on my butt in front of everyone

Carson: So... got a sparkly costume hiding under the coat

Ariadne: *giggling* Do you

Carson: Drat. You told me to bring skates, not my leotard, it's back home

Ariadne: Always good to leave something for next time

Carson: *laughs* I mean you’d look much nicer in a sparkly outfit than I would

Ariadne: I think you look nice anyway

Carson: Oh, really?

Ariadne: We ah- we better get on the ice or we’ll be talking until class starts

Carson: Ladies first

Ariadne was first on the ice out of the pair with Carson close behind. He may be asthmatic but he didn’t mind something slow like ice skating. He did his best to keep up with Ariadne but he did slip over once or twice. Luckily he was behind her so felt pretty confident that she’d missed it. As the bell rang and he headed off the rink to class he missed her also wiping out.

In art class Carson was glad to see Mrs T back. She was always much calmer and knew a bunch about art. As she gave a rather detailed analysis of perspective in art he felt his skill grow.

Down the hall in social studies it was a different story.

Artemisia: *whispers* Hey Roger, yo mamas so lazy she has a stay at home job and is still late to work

Roger: Shut up Emi, you know she’s a social worker. I’m not getting suspended again because you can’t control yourself

Artemisia: Only my friends get to call me Emi. Hey Roger, yo mamas so old she was a waitress at the Last Supper

Roger: Don’t think being a girl will stop me from punching you

Artemisia: Go ahead. My Pa will sue you until yo mama is so poor the ducks throw bread at her, oh wait, she already is

Previous ... Next

[eway]

@puyopuyoconfessions @smb0 @madoumonogatarirunelord @colorfullaudino @elder-sister

BEHOLD!

The Puyo Puyo Movie Franchise Cast List!

Arle (young): Alexis Tipton

Schezo (young): Veronica Taylor or Sarah Natochenny

Camus: Tara Strong

Fudoushi: Mark Hamill

The Teacher: Amanda C. Miller

Skeleton-T: Bryan Massey

Nasu Grave: Clancy Brown

Momomo: Jesse McCartney

Lala: Sarah Blandy

Arle: Lindsay Seidel

Rulue: Scarlett Johansson

Minotauros: Troy Baker

The Dark Prince: Xander Mobus

Carbuncle: Tomoko Kaneda

Schezo: Yuri Lowenthal

Amitie: Evelyn Huynh

Sig: Hunter MacKenzie

Ms. Accord: Julie Andrews

Raffina: Brett Walter

Klug: Thessaly Lerner

Lidelle: Erica Schroeder

Yu: Laura Faye Smith

Rei: Laura Faye Smith

The Crimson Spirit: Ron Perlman

Ocean Prince: Greg Cipes

Suketoudara: Tom Kenny

Sukiyapotes: Michele Knotz

Harpy: Teresa Gallagher

Panotty: Lani Minella

Witch: Julie Ann Taylor

Zoh Daimoh: Jim Cummings

Merigu: Dani Chambers

Shosu: Kayzie Rogers

Emi: Kerry Williams

Sasori Man: Billy Bob Thompson

Akuma: ProZD

Feli: Amber Hood

Lemres: "Weird Al" Yankovic (This one was a suggestion by one of the people I tagged)

Strange Klug: Thessaly Lerner

Salde (the voice direction changes when he changes form, but the actor remains the same): Greg Cipes

Wish: Cree Summer

Tenori Zoh: Ikue Ōtani

Dark Matter: Andrew Rannells

Ragnus (Young): Veronica Taylor or Sarah Natochenny (whichever didn't voice young Schezo)

Ragnus (17): Antony Del Rio or Jason Griffith

Draco: Brianna Knickerbocker

Incubus: Liam O'Brien

Succubus: Erin Fitzgerald

Jaan: Hynden Walch

Scylla: Kari Wahlgren

Nomi: John DiMaggio

Yoggus: Marcus Stimac

Honey Bee: Lisa Ortiz

Serilly: Michelle Ruff

Doppelganger Schezo: Yuri Lowenthal

Phantom God: Ali Hillis and Jay Goede (Both voices are at the same time with vocal effects to add to the otherworldly feel)

Lilith (all she takes from the book counterpart is her name, the fact she's dead, and she was The Dark Prince's loving wife. She's not some goddess, just a ghost. I hate those books): Laura Bailey

Chico: Samantha Kelly

Doppelganger Arle: Lindsay Seidel

Ringo: Cassandra Lee Morris

Maguro: Spike Spencer

Risukuma: Keith David or Kevin Michael Richardson

Ecolo: Bryce Papenbrook

Everyone else would be voiced by new and unknown voice actors (like me! New voice actors should have a chance to break into the industry)

[pinkfloyd-musicartnaturelove]

Pink Floyd (Rick Wright, Syd Barrett, Nick Mason, and Roger Waters) | EMI offices in Manchester Square, London | 1967.

[riaaanna]

The drummer Roger Taylor, sipping champagne on a leather sofa in his penthouse duplex overlooking Battersea Park, finds the whole situation hilarious. “Oh God, we’ve always got stick for everything,” he grins. “People say, ‘You’re mistreating the legacy’, and I think, well, thanks for your concern, but it’s my f***ing legacy.”

A random article from 2011 (in anticipation of Stormtroopers in Stilettos exhibition) I'm unpaywalling simply because of Roger's epic quote above. "It's my f***ing legacy" damn right! Full article below.

Revisiting history

Queen are 40 this year — and, to celebrate, they’re reissuing their first five albums. Brian May and Roger Taylor talk to us about Bowie and Freddie

Freddie Mercury once described his band’s songs as being like “disposable razors — use them, darling, then throw them away”. Yet, almost 40 years after Queen’s first LP, that seems an ever more unlikely scenario. Every possible attempt has been made by critics and the self-appointed guardians of musical good taste to ridicule, belittle and bedraggle their arch, explosive, overwrought, emotive, theatrical, propulsive, gargantuan records (bet­ween March 1974 and December 1992, they had 40 UK chart hits — even their successful streaks were wildly over the top), but the public voted time and time again, and the public voted, more often than not, for even more Queen, even more of the time.

Nine years ago, the band spent a reported £7.5m of their own money on a musical, part-written by Ben Elton — then, as now, easily as unfashionable as Queen — featuring their songs. It was savaged by the press (one reviewer from the American magazine The Advocate flew across the Atlantic just so they could call it “complete bollocks”), yet, nearly a decade later, the towering, if rather unflattering, statue of Mercury triumphant still towers above the entrance to London’s Dominion Theatre — and, every night, every seat in the house is full.

“Respect is a funny thing,” says the guitarist Brian May, enjoying the aubergine special at a smart Italian restaurant in Holland Park. “If you look for it, you’ll forever be disappointed.” Queen have had very little, I suggest. Does that seem fair? “It’s true,” he laughs. “But we get everything, from complete, overwhelming love to total, outright derision. I don’t take any of it on board, really. It would ruin you if you believed it. You’d go nuts. I care what people say, but both extremes are dangerous.”

The drummer Roger Taylor, sipping champagne on a leather sofa in his penthouse duplex overlooking Battersea Park, finds the whole situation hilarious. “Oh God, we’ve always got stick for everything,” he grins. “People say, ‘You’re mistreating the legacy’, and I think, well, thanks for your concern, but it’s my f***ing legacy.”

Five years ago, it was announced that the band’s Greatest Hits LP was the UK’s biggest-selling album of all time, and now Queen have signed a new record deal with Island/Universal, after almost 40 years with EMI. The band —effectively May and Taylor (Mercury died in 1991, while the bass player, John Deacon, keeps his old colleagues “at arm’s length”, according to the guitarist) — will be spending the next 12 months revisiting their history.

The anniversary celebrations begin with a photography exhibition — Stormtroopers in Stilettos — that opens this week and focuses on the band’s nascent, ultra-pouty, satin-blouse-and-nail-polish years, most of the images coming from May’s own “air-conditioned and bomb-proof” archive. “I do look at those pictures in wonderment,” he says. “I’m so strange and angular and awkward and uncomfortable-looking. I used to be embarrassed by it, but now I feel really forgiving. It’s like looking at my own children.”

There's a basic truth there - you shouldn't be ashamed to reach a lot of people. What could be better than reaching a lot of people while retaining some intelligence?

Following that will be the re­release of their first five albums, from the ultra-glam, heavy-rock debut up to the panoramically ambitious A Night at the Opera and A Day at the Races, which marked the end of Queen part one. All will arrive as deluxe sets, with a wealth of extras, and all have been remastered by May and Taylor. The pair have been closer to their early material than they have been for years, and seem genuinely amazed by what they found. “You can hear how we wanted to be intense and passionate and heavy, but still very melodic,” May says. “We were always trying to find ways to fulfil what we heard in our heads.”

“What was always thrilling to me was when people really loved the records,” Taylor smiles. “There’s a basic truth there — you shouldn’t be ashamed to reach a lot of people. What could be better than reaching a lot of people while retaining some intelligence?”

Few groups can claim members born in King’s Lynn and Zanzibar, but then few groups are quite like Queen — “the most preposterous band that ever lived”, according to Mercury. May and Taylor met at Imperial College London in 1968 and formed a band called Smile. In early 1969, their own bass player introduced them to a friend of his called Farrokh (Freddie) Bulsara (later Mercury), who was studying art in Ealing. May and he had lived less than a mile from each other in Feltham, southwest London, but had never met.

“I remember the first time I went round to his house,” May says. “He wanted to play me Jimi Hendrix on his Dansette record player — he was totally obsessed with him. Even then, Freddie was a star — very shy, but he’d com­pensate by being grand and flamboyant. He was a serious dandy.”

“We got on immediately,” laughs Taylor, who teamed up with his new friend to set up a vintage clothes and art stall in Kensington Market. “We had a dream of being in a working band, but the only way to live was to sell the sort of outlandish clothes we loved. So we ponced around in velvet capes and tight trousers, and sold the look to other people.”

Freddie had his own bands, Ibex and Wreckage — the latter even supported the psychedelic journeymen Iron Butterfly — but both came to nothing. By late 1970, after he had tried out various day jobs, including working for a bootmaker, the friends came together as Queen. Taylor remembers their first gig being arranged by his mother: they secured £50 to play for the Red Cross in Truro. Soon after, they were doing regular gigs, and rehearsing, at Imperial College. The band signed to EMI in late 1972 and were introduced to the world with a showcase gig at the Marquee. Their first single, May’s Keep Yourself Alive, flopped on release, while their ambitious debut album also failed to make an impact. Meanwhile, David Bowie, for one, was developing into a huge success with a similar mix of high camp and hard rock. “It was a traumatic time,” Taylor says. “We always feared we’d been left behind. It took us such a long time to get any success.”

“Me and Freddie would travel up and down to our management on a No 9 bus, asking why nothing was happening or why we couldn’t get back in the studio,” May says. The band used downtime at a place Bowie had hired to record. The call might not come until 3am, but when it did, they would race in and work until the sun came up. “It was a shambles,” May laughs.

Queen embarked on a bout of prolonged, intensive touring, including an infamous US trip with Mott the Hoople. A Billboard review from 1974 admonished Mercury for “leaning a little too heavily on stage dramatics”, but that never bothered the increasingly devoted crowds too much. “Mott were perfect for us,” Taylor says. “They had an open-minded, very rock’n’roll, insane audience. They were liberated, colourful — not the normal rock crowd.”

“That was when we learnt how to be rock stars,” May smiles. “Just as you thought the day was over, one of Mott would burst into your room, loaded with bottles and whatever else, and off you’d go again. It was very, very full-on and very, very exciting.”

Fred wouldn’t get out of the van some nights. He and Brian had black-and-white fingernails, and literally wore dresses

All the touring made Queen II a proper hit; then Bowie helped out again by pulling out of Top of the Pops at the last moment. Queen filled in, and Seven Seas of Rhye became their first chart smash.

“We got our hook into the mainstream,” Taylor says. “The shows got bigger, but it was rough. Fred wouldn’t get out of the van some nights. He and Brian had black-and-white fingernails, and literally wore dresses, but the tough audiences in Liverpool and Glasgow and Newcastle loved us.”

The band’s third album, Sheer Heart Attack, pushed them over the top. The most heinous excesses were reined in, in favour of a streamlined, hit-delivering monster. Taylor describes it as “grand, but not preposterously so”. The single Killer Queen became their biggest hit yet.

Queen had other problems, however. Playing two shows a night on early tours left Mercury with nodes in his throat, and the band were in a “stifling” relationship with their management. “We were penniless,” May says. “They kept all the money and spent it on swimming pools.”

A new deal with Elton John’s manager, John Reid, promised to wipe out these worries, and the band soon delivered their next single, Bo­hemian Rhapsody. EMI turned it down flat, demanding a radio edit. No such cut was made, and the six-minute song stayed at No 1 for two months. The album that followed, A Night at the Opera, went Top 10 all over the world. Taylor laughs, recalling how, when Queen came to record A Day at the Races, they realised that Opera was “bloody impossible to follow up”.

All the looking back has made May and Taylor consider the 20 years that have passed since Mercury’s death. “These days, our creative fire is more like an ember that flickers occasionally,” Taylor says. May stirs his espresso and smiles. “I just wish he was here to enjoy this with us. He would love this. It was Roger and me in the beginning, and it’s Roger and me again, but Freddie’s always with us. He’s eternal, part of the fabric of every day of our lives.”

[freddiemercurylegendabovelegends]

Today, on August 24th, 1975 – Queen Story!

Queen starts recording ‘Bohemian Rhapsody’ at Rockfield studio’s in Galles.

🔸THE DAY QUEEN BEGAN RECORDING THEIR MASTERPIECE, ‘BOHEMIAN RHAPSODY’

- Ultimate Classic Rock, August 24, 2015

by Eduardo Rivadavia

If you were to write a history of the recording studio and, specifically, its usefulness as a laboratory for musicians' most ambitious creations, then an entire chapter might well be devoted to "Bohemian Rhapsody." The members of Queen began recording the song on Aug. 24, 1975, redefining the known limits of popular music in the process.

Suffice to say that, whatever Chuck Berry had in mind when he asked Beethoven to roll over, "Bohemian Rhapsody"'s jaw-dropping pastiche of rock and opera sure wasn't it. But then, Queen's flamboyant and unpredictable brand of art rock had been simultaneously stumping and amazing all those who'd heard it well before "Bohemian Rhapsody" came along. It continually morphed over the first three albums of the group's career, until 1974's Sheer Heart Attack started connecting all the dots.

During the first months of 1975, Queen toured the U.S. as headliners for the first time (alternately supported by Styx and Kansas), making their first trip to Japan (where they received a Beatlemania-type reception), and, in singer Freddie Mercury's case, receiving the prestigious Ivor Novello Award for his work on "Killer Queen."

All of these accomplishments no doubt boosted the band's confidence (and courage) as they started working on new material, both in unison and individually, for the album they would soon name A Night at the Opera. This was to be produced by their engineer Roy Thomas Baker, and it's safe to say neither band nor producer could have guessed what Mercury had up his sleeve as he started cobbling together both new ideas and spare song parts he'd been lugging around for years in the privacy of his Kensington apartment.

According to Baker, in an interview with Sound on Sound, his first inkling of what was in store only came when he visited Queen's singer at his home, and Mercury first played him "Bohemian Rhapsody"'s initial ballad section, concluding it by casually quipping, "And this is where the opera section comes in!" Mercury, Taylor and the other members of Queen -- guitarist Brian May, bassist John Deacon and drummer Roger Taylor -- then entered the studio following three weeks of rehearsal to help bring Freddie's madcap magnum opus to life.

Together, the foursome and their studio hands spent as much time arranging, re-arranging, adding, subtracting, and adding some more to "Bohemian Rhapsody"'s bulk as most bands of the time spent on entire albums. In the end, Mercury's central ballad wound up preceded by one of Queen's patented, multi-tracked a capella choirs and was followed by a tasteful solo from May, a minute-long opera section, then a heavy metal instrumental passage and finally a reprise of the core melody, fading gently back into wherever it came from.

All these years later, it's the song's operatic climax that remains its most stunning, almost superhuman, accomplishment, as it required them to clock as 10-to-12 hour days over a three-week period. They reportedly needed nearly 200 vocal overdubs in order to flesh out an entire choir. And then, when they were finally done, their label EMI was, to put it mildly, quite unimpressed.

Although, to be fair, the suits' reasons were typically business-oriented, as "Bohemian Rhapsody's" edged close to the six-minute mark, well beyond the limit favored by commercial radio. Instead, the label suggested they release Deacon's excellent "You're My Best Friend" as first single from A Night at the Opera, but Queen wouldn't hear of it, and it only took a moment for the immediate support of DJs across Britain to prove EMI wrong.

Released in the U.K. on Oct. 31, 1975, "Bohemian Rhapsody" would be No. 1 by Christmas and then hold the spot for nine weeks. Its commercial fortunes were undoubtedly helped by the pioneering music video shot by Queen to stand in for them on Top of the Pops while they were already back on tour by the time they were invited to appear. Meanwhile, their single was also on its way to No. 1 in Canada, New Zealand, the Netherlands and Belgium, earning Top 10 honors in multiple other countries and peaking at No. 9 in America, where it eventually became a million-seller.

"Bohemian Rhapsody" stands as one of the best-selling songs in rock history, prone to repeat visits to global charts anytime it is revived for a movie, commercial or other event, and frankly unique as nothing since has come close to matching its sheer heights of excess, bravura, and, oh yeah, inspiration.

(Source ↘️ https://ultimateclassicrock.com/queen-bohemian-rhapsody/)

📸 Pic: 1975 - Recording 'A Night At The Opera' album with co- producer Roy Thomas Baker

[pipermint8magic]

1.Basic info -

Name : Blitz

Height : 160 cm

Gender : male

Sexuality : Pansexual

Pronouns : he/him

Species : mixed imp

Age /birthday : 50 years old/July 1st

Voice/actor : Blitzo / Brandon Rogers

Parents : Cash Buckzo and unknown(Bio.), Mammoon (adoptive)

Siblings : 3

Relationships : Stolas and Angel Dust (Married), Verosika and many other (ex's)

Kids : 6

Ref link :https://www.deviantart.com/biclownbatsy/art/pmverse-Blitz-ref-1012715668

2.Basic info -

Name : Millie

Height : 160 cm

Gender : female

Sexuality : bisexual

Pronouns : she/her

Species : imp

Age /birthday :52 years old /November 2nd

Voice/actor : Millie /Vivian Nixon

Parents : Lin and Joe

Siblings : 4

Relationships : Moxxie and Charlie (Married), Chaz (ex)

Kids : 4

Ref link : tba

3. Basic info -

Name : Moxxie

Height :140 cm

Gender : male

Sexuality : Bisexual

Pronouns : he/him

Species : imp

Age /birthday : 48 years old /september 10th

Voice/actor : Moxxie /Richard Horvitz

Parents : Crimson and Emy

Siblings : 2

Relationships : Millie and Charlie (Married), Chaz (ex)

Kids : 4

Ref link : tba

[myvinylplaylist]

Queen: Cool Cat 7” Single (2024)

Record Store Day 2024 Release

Limited to 2000 copies.

Released on translucent pink vinyl.

This pressing was released initially for the European market, but was also imported into the US and sold there, with the jacket's barcode covered by a sticker with a US barcode and cat# D004353421, which is part of the Hollywood Records-scheme, Queen's US labels. This label however is nowhere mentioned on the release.

EMI Records