#for example Freddie Mercury was known to do that as well

[cursed-elo-images]

18:56-19:01 HUGH SCREAMS

[thatwasthenightthingschanged]

eras tour city guide: Munich

(Gelsenkirchen | Hamburg)

are you're traveling to see the eras tour in Munich and are looking for things to do in the city or just need advice for good food/drinks spots? Or are you looking for some insider information about the venue? I got you! here are some ideas for you (I will continuously update this post!):

THINGS TO DO

Englischer Garten: one of the most well-known nature spots in Munich (it's not my personal fave but the list would be missing something if it wasn't on there). huge park right in the middle of Munich. in it, there's also the famous Eisbachwelle where surfers surf on the Isar! however, it's always very packed in the summer

castle Nymphenburg: very pretty castle! it also has a huge park around it that is way less touristy so you have a chance to spend some time more by yourself!

Marienplatz & Karlsplatz/Stachus: if you're looking for shopping opportunities, this is the main place to be in Munich. extremely packed on the weekends however. at Marienplatz, you will also find the city hall whose chimes ring (including figurines coming out of the tower) each day at 11am, 12pm and 5pm!

Auer Mühlbach: nice spot for a walk along the Isar that is less crowded!

museums: many museums only demand an entrance fee of 1€ on Sundays! so if you're into museums I'd take advantage of that :) popular museums in Munich are the Pinakotheken or the Deutsches Museum.

lakes: you can reach many pretty lakes very easily and very quickly by train! (for example Starnberger See where the train tracks go right by the train so driving there has studio ghibli feels imo! Eibsee & Walchensee are also very nice but do require a car)

Glockenbachviertel: this is the area for queer history and the queer scene in Munich! Freddy Mercury for example used to frequent it! It's also right next to Viktualienmarkt (a place with many different food stands) and it's not as crowded as the Marienplatz/Stachus area. it also has very cute traffic lights!

take a walk by the Isar (for example the Flaucher)

FOOD & DRINKS

Gans Woanders: lovely little restaurant very close to the Isar! they built a little wooden house right in the middle of the city and it has a very cozy vibe. they sell home-made (vegetarian) pizza and fries! (I personally think their pizza is one of the best pizzas ever) and if you go there on a weekday at lunch time, they have even cheaper prices!

Katzentempel: located in the Univiertel! if you have ever wanted to get a coffee or some nice vegan food while petting very cute cats, this is the place to be for you! but: make sure to reserve a table because it tends to be fully booked especially on weekends!

Om Nom Nom: very tasty vegan food and they also sell a bunch of vegan snacks

Pure Burrito: on the note of non-expensive stuff, if you like burritos I can very much recommend this food chain! their small burrito is honestly so filling it's a whole lunch and it's only about 5-6€ for one!

Der verrückte Eismacher: ice cream parlour that sells experimental sorts of ice cream! it's probably one of Munich's most famous ice cream parlours. but: slightly more on the expensive side - you need to buy at least two scoops of ice cream and those cost ~3€. they also give you a free small spoon of an ice cream you want to try on top.

general advice: if you're looking for cheaper meals & drinks you should head to the Univiertel (subway stations "university"/"Giselastraße"/"Münchner Freiheit") - especially the food and drinks right in the city center are veeeery expensive (even the bakeries which is just insane to me but that's just Germany's most expensive city for you). it's also right next to the Englischer Garten!

GENERAL INFORMATION & ADVICE ABOUT THE VENUE

I will make a separate post about the eras tour concert dates at the venue once they will release information specifically about those two concerts, but for Harry Styles at least we were allowed to bring a 0.5l clear water bottle with us into the stadium!

bring a jacket! yes, even if it's 30 degrees celsius outside. it is always very windy in the stadium no matter the temperature outside!

there are tons of food stands in the area of the Olympiapark but also within the stadium (besides your usual drinks stands). at the last concert I went to there they sold Bratwurst in the pit lol

if you only have a ticket to one of the shows but are still/already in town for the other show, be sure to catch the concert from Olympiaberg! you can enjoy a nice sunset and do a picknick there and might (depending on where you find a spot) see the screen! but: I've been there for concerts a few times and the hill fills up fast, and I assume it will fill up even faster for Taylor! I would advise you to get there at 6pm at the latest if you want a (good) spot!

[courtneymylove88]

𝐅𝐮𝐥𝐥 𝐊𝐮𝐫𝐭 𝐂𝐨𝐛𝐚𝐢𝐧 𝐬*𝐢𝐜𝐢𝐝𝐞 𝐧𝐨𝐭𝐞

To Boddah Speaking from the tongue of an experienced simpleton who obviously would rather be an emasculated, infantile complain-ee.

This note should be pretty easy to understand. All the warnings from the punk rock 101 courses over the years, since my first introduction to the, shall we say, ethics involved with independence and the embracement of your community has proven to be very true.

I haven't felt the excitement of listening to as well as creating music along with reading and writing for too many years now. I feel guity beyond words about these things. For example when we're back stage and the lights go out and the manic roar of the crowds begins., it doesn't affect me the way in which it did for Freddie Mercury, who seemed to love, relish in the the love and adoration from the crowd which is something I totally admire and envy.

The fact is, I can't fool you, any one of you. It simply isn't fair to you or me. The worst crime I can think of would be to rip people off by faking it and pretending as if I'm having 100% fun. Sometimes I feel as if I should have a punch-in time clock before I walk out on stage.

I've tried everything within my power to appreciate it (and I do,God, believe me I do, but it's not enough). I appreciate the fact that I and we have affected and entertained a lot of people. It must be one of those narcissists who only appreciate things when they're gone. I'm too sensitive. I need to be slightly numb in order to regain the enthusiasms I once had as a child.

On our last 3 tours, I've had a much better appreciation for all the people I've known personally, and as fans of our music, but I still can't get over the frustration, the guilt and empathy I have for everyone. There's good in all of us and I think I simply love people too much, so much that it makes me feel too fucking sad.

The sad little, sensitive, unappreciative, Pisces, Jesus man. Why don't you just enjoy it? I don't know! I have a goddess of a wife who sweats ambition and empathy and a daughter who reminds me too much of what i used to be, full of love and joy, kissing every person she meets because everyone is good and will do her no harm. And that terrifies me to the point to where I can barely function.

I can't stand the thought of Frances becoming the miserable, self-destructive, death rocker that I've become. I have it good, very good, and I'm grateful, but since the age of seven, I've become hateful towards all humans in general. Only because it seems so easy for people to get along that have empathy. Only because I love and feel sorry for people too much I guess.

Thank you all from the pit of my burning, nauseous stomach for your letters and concern during the past years. I'm too much of an erratic, moody baby! I don't have the passion anymore, and so remember, it's better to burn out than to fade away. Peace, love, empathy.

Kurt Cobain Frances and Courtney, I'll be at your alter. Please keep going Courtney, for Frances. For her life, which will be so much happier without me. I LOVE YOU, I LOVE YOU!

[freddiemercurylegendabovelegends]

Thanks #Leoferbeno #OfficialInternationalQueenFanClub #clarin

Leloir Park, Buenos Aires 1981 - Freddie and Ricardo Petracca

Dinner of the band at Ricardo Petracca's house after the show.

Petracca : "I remember Freddie, he was a great, great guy"

Not everyone can take a picture with a glittering artist worldwide. Ricardo Petracca (67) did it some time ago, and today he can boast of having an image no less than with Freddie Mercury, when he was 29 years old. And as if this were not enough, it is not just any, because it takes the Queen vocalist on his shoulders.

It is known that the legendary British rock band took their music to the last corner of the planet. In 1981, for example, it was the first great band to include Latin America in its tours. Many Argentines treasure in their hearts the passage of "The Queen" by the Club Vélez Sarsfield, in Capital; by Rosario, Córdoba and Mar del Plata.

Ricardo Petracca, a neighbor of Pilar for 25 years and nephew of the then president of Vélez, was one of the few people who could enjoy the stay of Queen well up close. "I did not want a normal photo, so it got on my shoulders and the photographer of the band captured the moment," he laughs.

Account that Mercury had the custom to sing the subject "We Will Rock You" raised "to caballito" of a custodian disguised of a personage of science fiction. This is how the idea came about and the moment was reflected in a photograph that is currently framed in the house of Ricardo's younger son.

As good hosts, his family invited the British group to a barbecue in his villa in Parque Leloir, in Ituzaingó. But Petracca only wanted to have a picture with the singer.

"To be honest, I was never a faithful follower of 'Queen'. I did not know them as much, I preferred to listen more to the Rolling Stones and even Latin music, "he reveals against what anyone could imagine. And he says: "One day they offered to buy me the photo, but I did not want to. It's something I keep for myself, and it transpired from one day to the next. "

The photograph shows that original moment, but the reality is that the Pilaren was with the members of the band during the 20 days of his stay in the country. That 27 of February of 1981 had to go to look for them to the Airport of Ezeiza, where hundreds of fans waited for their arrival. "There were many people willing to do anything to get close to their idols. With custody we had to invent a kind of fence to protect Freddie and make him enter the hotel, "he recalls.

"The shows in Vélez I lived on the side of the stage. During the recital, Freddie was transformed and was carried away by the adrenaline ", recognizes. The 40 thousand people who crowded the stadium vibrated to the rhythm of rock and remember that it was so powerful "the blow of the sound of the speakers that ran to the people of their place".

"I remember him as a guy, we spent hours talking about life," he admits modestly. In the course of those days, they cultivated a friendship that kept her in time with the sending of letters. "At that time my family had the largest glass company in Argentina. In the barbecue we shared, he saw one of our vitraux and commissioned one for us by letter for his house in London, "he says. Although with a hand in his heart he confesses that he doubts that the piece has reached its destination.

The photo, his anecdotes with the emblematic band and his personal bond with Mercury, make Petracca the envy of the followers of Queen. "I lived very nice moments. If he were alive, I'd love to meet him again. He was a very special character, "he says with some nostalgia

[unbekanntesetwas]

Sonntag 23:50 21.05.23 Mitfahrerparkplatz in meinen Auto

To Boddah

Speaking from the tongue of an experienced simpleton who obviously would rather be an emasculated, infantile complain-ee. This note should be pretty easy to understand.

All the warnings from the punk rock 101 courses over the years, since my first introduction to the, shall we say, ethics involved with independence and the embracement of your community has proven to be very true. I haven't felt the excitement of listening to as well as creating music along with reading and writing for too many years now. I feel guity beyond words about these things.

For example when we're back stage and the lights go out and the manic roar of the crowds begins., it doesn't affect me the way in which it did for Freddie Mercury, who seemed to love, relish in the the love and adoration from the crowd which is something I totally admire and envy. The fact is, I can't fool you, any one of you. It simply isn't fair to you or me. The worst crime I can think of would be to rip people off by faking it and pretending as if I'm having 100% fun. Sometimes I feel as if I should have a punch-in time clock before I walk out on stage. I've tried everything within my power to appreciate it (and I do,God, believe me I do, but it's not enough). I appreciate the fact that I and we have affected and entertained a lot of people. It must be one of those narcissists who only appreciate things when they're gone. I'm too sensitive. I need to be slightly numb in order to regain the enthusiasms I once had as a child.

On our last 3 tours, I've had a much better appreciation for all the people I've known personally, and as fans of our music, but I still can't get over the frustration, the guilt and empathy I have for everyone. There's good in all of us and I think I simply love people too much, so much that it makes me feel too fucking sad. The sad little, sensitive, unappreciative, Pisces, Jesus man. Why don't you just enjoy it? I don't know!

I have a goddess of a wife who sweats ambition and empathy and a daughter who reminds me too much of what i used to be, full of love and joy, kissing every person she meets because everyone is good and will do her no harm. And that terrifies me to the point to where I can barely function. I can't stand the thought of Frances becoming the miserable, self-destructive, death rocker that I've become.

I have it good, very good, and I'm grateful, but since the age of seven, I've become hateful towards all humans in general. Only because it seems so easy for people to get along that have empathy. Only because I love and feel sorry for people too much I guess.

Thank you all from the pit of my burning, nauseous stomach for your letters and concern during the past years. I'm too much of an erratic, moody baby! I don't have the passion anymore, and so remember, it's better to burn out than to fade away.

Peace, love, empathy.

Kurt Cobain

Frances and Courtney, I'll be at your alter.

Please keep going Courtney, for Frances.

For her life, which will be so much happier without me.

I LOVE YOU, I LOVE YOU!

[hazel-da-basil-deactivated]

Hazel Muses about dead peoples romantic/sexual lives and if they were queer or not.

So Like trying to put labels on people isn’t the best. But I’m trying to figure out this whole Sylvia Fine Danny Kaye thing and its like historical curiosity I guess. Like in the time and place they lived you couldn’t really talk about these things and knowledge of them sometimes just wasn’t there.

Like looking at Danny Kaye, traumatized youth who became a funny guy to survive. just pretty normal human stuff. But also learning to dance in like 6 months for a movie, becoming the top non-asian chinese chef, learning to pilot planes, learning to conduct despite not being able to read music, able to replicate accents well enough that native speakers would be really confused they couldn’t understand the utter nonsense he was saying with the accent, etc. This seems to me like he was probably autistic. Not that uh thats what I’m getting at. just a tangent.

So Danny was married to a woman named Sylvia Fine. And this seems to have been primarily a business/friend relationship. They did have a child, but only one. Danny was known to cheat on Sylvia, but I wonder if it was actually cheating, because really from what I can tell Sylvia seemed mostly okay with it. Other than a long affair Danny had with Eve Arden early in their relationship anyway.

So I’m kind of wondering if they were polyam or at least open in their relationships. I’ve seen no mention of affairs on Sylvia’s side. This could be because she was more discrete than Danny, or because she didn’t have them, or just because I have so little info.

From descriptions of her I at first felt, was she a lesbian? But the more I think about this I kinda feel like she was ace. Like she just wasn’t really interested with Sex, but since Danny was she let him go out and have sex. I’m not sure the two even had a strong romantic attachment. I’ve seen stuff that says they didn’t here. And descriptions kind of make me feel like Danny was aromantic/demi romantic. And maybe Sylvia was as well. Like they had a light romantic connection, a strong bond that many people wouldn’t necessarily recognize as romantic.

But I have no way to know really. They’re both dead. I can’t ask them. They’re daughter is still alive, but how aware are most children of their parents sexual/romantic lives?

This could also just be me just not wanting Danny being some Philanderer who was constantly Breaking Sophie’s heart and torturing her over their long marriage.

Anyway I feel like they were a queer couple. And looking at all this old music, you just see so many examples of queer people, that we just pretend weren’t. And because we pretend they weren’t the fact that they were gets lost to history, so that later generations don’t realize they were. So it seems like queer history is empty. It always looks empty.

But we know a lot of these people were queer. I don’t mean like by analyzing and wondering like I’m doing here. We know that one of the Andrews sisters was queer. Her long time partner has talked about it. Billie Holiday was bi apparently. It wasn’t even really a secret at the time. Not to people who knew her at least. But this history is hidden. Sure today it’s not too hard to find if you go to look for it. Details perhaps are lacking, but I don’t need to know the names of Billie Holidays various lovers. It’s just so strange that all of this is shoved back and hidden in the depths of a dusty old broom cupboard. Like queer people have always existed. People that you love, whose voices have moved you, whose acting has brought a smile to your face are queer. But you can’t love that part of them? You have to hide it and pretend it doesn’t exist? How can you love queen’s music, and not acknowledge that you love a queer person? You pretend that Freddie Mercury wasn’t bi when you listen to it. Most of you think he was gay, but you know he was queer. But you pretend that he wasn’t when you listen to his music. You hate queer people, oh but that Freddie Mercury you love his music. How? I just don’t understand how you can love someone like that, but hate such an integral part of them.

How are people homophobic, when they love so many homos?

[manyrandomfandoms]

oh I’m glad I get to talk about this

Obviously representation doesn’t fall solely on his shoulders, but as an Arab person, I’m really glad we have Rami Malek helping to break stereotypes. I’m glad we have a well-known, positive example of a religious Arab person who’s just chill (and I say that as an atheist).

Rami is Egyptian, Coptic Christian, and his first language is Egyptian Arabic. He swore off playing terrorists because

A) he was getting typecast

And B) he didn’t want to reinforce that stereotype

I love that there’s a religious Arab on screens who’s not freaking queerphobic. One of his really early roles when he was just getting started was an Arab gay kid on The War At Home and do I even need to MENTION Bohemian Rhapsody and the clear love and appreciation he has for Freddie Mercury.

There is, unfortunately, a lot of bigotry in Arab culture and if you don’t think this kind of representation is all that important, keep in mind Rami’s Oscar acceptance speech is not allowed to be shown in Egypt because he celebrated Freddie Mercury’s willingness to live “unapologetically” as a gay man. If Freddie were still alive, he would not be able to be interviewed in Egypt and if Rami were to be interviewed, he would not be allowed to say anything positive about Freddie without putting both himself AND THE INTERVIEWER at risk of getting arrested. And that’s just Egypt’s laws, that’s not even getting into the rest of the Middle East and North Africa.

I’m glad Arab kids can look and see they don’t have to adopt the toxicity of *some* parts of Arab culture while still being able to keep their religion and the other, better parts of our culture. And I’m glad non-Arabs can see that Arabs can AND DO do that as well. Again, obviously Rami is not at all the only Arab actor like this, and I’m glad we have all of them from all around the MENA area, but he is imo one of, if not the most, prominent, and I’m glad he exists

I may not be that familiar with his filmography, but god damn it I’m so proud of Rami Malek for being the first Arab to win a golden globe and for winning other awards throughout his career for roles that don’t contribute one bit to negative stereotypes about Arabs (and other MENA people in general) in western media.

He’s doing great and I hope we will see more actors like him emerging in the near future.

[thefaybul]

Music Style - Vocal Range

We are talking about singing. Come on everyone does it, even if it is only in the shower when no one can hear you until Brittany Snow shows up. If you know, then you have heard the terms Soprano, Alto, Tenor, and Bass. Now in a prior video I did discuss Bass, but that was a little different as I talked about what Bass adds to a musical score and not vocally. Check that video out if you like this one though. So what do we mean when we are talking about these terms?

Simply these terms are used to define a voice based on the vocal range that they are able to sing at comfortably. These ranges are used to harmonize and get more of a performance from the singer, but not strain their voice. So let's go down the list and discuss the ranges and give some examples of singers in those ranges.

Sopranos typically have the highest vocal range among female voices. Their range usually extends from middle C (C4) to high C (C6) or even higher. Sopranos often take the melody in choral music and can sing soaring, high notes with clarity and ease. Well known singers who have this range are Julie Andrews, Ariana Grande, and Demi Lovato to name a few.

Then we have Altos. Which are the lower female voice type, with a vocal range usually from F3 to E5 or thereabouts. They often provide harmony, singing below the sopranos. Altos can carry the lower parts of a song, providing richness and depth to the overall sound. Gladys Knight, Cher, and Adele are well known singers commonly known in this range.

Now we have Tenors. Among male voices, tenors usually have a higher range. Their range typically spans from about C3 to B4. Tenors often sing the main melody or harmonize above the male basses, adding brightness and energy to a piece. Famous singers in this range are Freddy Mercury, Bono, and Michael Jackson.

Now for the Basses. Basses have the lowest vocal range among male voices. Their range typically goes from E2 to E4. They provide the foundation of harmonies in many pieces, offering depth and resonance to the overall sound of a choir or vocal ensemble. Barry White and Johnny Cash are in this group of singers.

Now that gives you an idea of the vocal ranges. Were you surprised by any of these ranges or who was in the vocal groups? Did you know all the singers mentioned? If you did or did not please comment below what might have surprised you or you did not know about.

Check down below for some links to some fun activities to find your musical range and see which singer you are closest to in range. Comment down below with what you find out, love to see where you all find out. Until next time, continue to Be Your Own Fable.

For Musical Note reference: https://trinket.io/music  For finding your Musical Range: https://singingcarrots.com/range-test

[mwalt3034]

How has lifestyle impacted fashion and textiles -

26/01/2023

In today's lecture we looked at the evolution of fashion over the decades and the reasons for its changes. The main drivers of change are industry & technology, world events and social changes. For example, during the industrial revolution in the 1870’s - 1900’s the suffragettes used fashion as a form of branding to promote their cause. In 1908 Emmeline Pethick-Lawrence devised the scheme of purple for dignity, white for purity and green for hope, and they encouraged respectable, elegant and fashionable attire such as lace and feathers. 

In the 1940’s “Make, do and mend” was introduced, it was a pamphlet issued by the British Ministry of Information in the midst of WWII, created to teach housewives tips and tricks on reusing, altering and how to be fashionable and frugal during periods of rationing. 

In addition to social changes etc. music and media had a strong influence on fashion such as The Beatles who were one of the most influential bands in history. Throughout the 1960’s they were sporting the styles of rock, teddy-boys and psychedelia. 

Politics has also been a key driving force in fashion with influencers of female power dressers such as Margaret Thatcher, who was British prime minister from 1979-1980. She was known for wearing bold suits and pussy bow blouses to give off the impression of being a professional business woman. In recent years however, politics in fashion has evolved drastically with influences like Donald Trump who was the republican US president from 2017-2021, who is presented as unclassy with an untidy suit and signature red trucker cap. This reflects the more casual style of 2010-2020s clothing.

In groups we brainstormed the fashion trends of the 1990’s and what social occurrences of the era could have influenced it, with fashionable artists such as The Spice Girls, Freddie Mercury, Wham! as well as public figures such as Princess Diana:

[lonelyasawhisper]

Queen: The Guitarist

Mick Houghton, Sounds, 22 January 1977

QUEEN ARE a much maligned group. There can't be any criticism that hasn't been hurled at them during their lifespan. Certainly it's to be expected that any enourmously successful group is going to be a target, but Queen have suffered critical brickbats right from the word go.

Yet Queen, to my mind, however irrelevant their music is, and that seems to be its worst fault, are to the Seventies what the Beach Boys and the Beatles were in the third quarter of the Sixties – a supreme pop band. It's just that today pop is a dirty word except for attempts to recreate earlier 'pop' styles of the Fifties and Sixties. Whereas Queen are true Seventies pop.

Queen, for their sins, are creating pop which uses the year 1969 onwards for its starting point with all its incumbent trends of heavy metal, glam rock and technological overkill. And whatever has been said about them, there is nothing like their music from any other Seventies group. Theirs is a unique synthesis of Seventies and late Sixties rock transformed into pop. Sure they go over the top at times, but didn't the Beach Boys? Why do we fall over backwards to defend albums like Smiley Smile and Friends?

It's only the passage of time that has called for a re-think. Well, Queen have no visible Sixties pedigree and it seems they'll suffer for that for a long, long time. Till the eighties, no doubt. Queen, however, were around in the Sixties, it's just that their formative days went unrecorded and that shouldn't be held against them.

Still, they are well placed now. When they return from their current U.S. tour they'll have confirmed their place in the superleague with Led Zep, the Who and the Stones. Not bad for a group that no-one had heard of four years ago.

That's their other sin. They are relative upstarts in the big league. Hence the theories that they have been working to some master plan, but really, their success is only down to careful and astute management at the right time in their career, and their own ability to deliver the goods.

They never ran before they could walk and that's a watchword that any rock act should follow at whatever level. Queen have observed the way things are and slotted themselves in. Their conquering of America, for example, is just a step by step blueprint for other groups to follow.

Like I said, they're well placed now. The next album is the killer, the real test, that if they come through will clinch their future. Even now they're experimenting with video ideas that have developed through their work on brilliantly professional promotional films. Given their approach to record making they are the most ideally placed group to explore the possibilities of video in rock.

Queen in the studios are like four painters, each daubing their ideas on one canvas. If, on stage, Freddie Mercury dominates, in the studio it's Brian May who is the master craftsman. He denies it. But that's his modesty. May is one of the most affable and unassuming blokes in rock. Below he talks about himself and various aspects of the group. No great lines that jump out of the pages and a fair amount of what appears to be cliches. They're not.

We began by talking about a little known R&B group popular around the Twickenham/Richmond area in 1964. The Others, they were called, all contemporary with May at Hampton Grammar School. The Others produced a classic of British R&B, their version of 'Oh Yeah'. It predates the Shadows of Knight version by two years and I'd be most surprised if the Chicago High School punks hadn't copped an earful of the Others at some point. Incidentally, 'Oh Yeah' by the Others, will soon be available on a UA collection of British beat group and R&B gems, called Beat Merchants.

O.K., so over to you, Brian.

"It's strange, because the people who were in the Others at school at that time were the kind of rebels who weren't interested in the academic side and were disapproved of by the establishment. I admired them because they got on with what they wanted to do which was play music. I was very much the academic then, partly through inclination and partly through upbringing.

"So, while I played in various groups none of them ever got anywhere because we never played any real gigs or took it that seriously. I was envious of those people at the time for making the break but ironically, now they've all gone back to respectable jobs or studying, whereas I did it the other way round.

"The Others were really excellent though in 1964, easily in the Yardbirds' class and playing locally very much the same dates. Let's see, Paul Stewart was the singer, John Stanley, guitar, Nigel Baldwin, drums, Bob Freeman, rhythm and Ian McLintock was on bass. They later got a guitarist called Pete Hammerton, who was one of the best guitarists I've ever seen.

"They became the Sands and made a great single called 'Mrs. Gillespie's Refridgerator', written by one of the Bee Gees. They signed with Stigwood but then got completely messed around, just as the Others had been before.

"Their experience, despite being messed around and mismanaged made me want to commit myself more because it was a world I wanted and knew I had to deny myself at the time. It was two years or so, before Smile (later with Roger Taylor as the genesis of Queen) my first serious group got going.

"BY THEN I was equally involved academically with my degree and felt it was a waste of time not to see it through having come that far. I'm in the same position with Queen now where I've got to pursue it to its conclusion, if there is a conclusion, and take it to its highest point.

"It's hard to see what that could be. There's the concrete terms like measuring it by success but those aren't the reference points you choose. When I feel that we aren't progressing or developing and then I'll have to think seriously about what I'm doing.

"Things usually come up to compensate for what you can lose with success. It's like my progress as a guitar player has slowed down considerably in terms of actual technique but where I'm advancing is in ideas and general feel for what I'm doing. Also there's the sense of audience which is something you never bargain for at the beginning when your playing is motivated by a purely internal drive.

"Once you discover people are actually listening it becomes a completely different world from that point on. Playing to people becomes worthwhile in its own sense. If my music still gives people pleasure that would become a major factor in my continuing, and in the way that writing and studio recording has become so important that is obviously already very pertinent to me."

Earlier I compared Queen to the Beatles. Their albums in the build up they receive and (pre-Christmas) timing of release are anticipated the way Beatles albums were in their pop heyday. Queen albums, again like Beatles' albums, also seem to be structured very similarly, with May and Mercury hogging the writing and Roger Taylor and John Deacon given one cursory song each. Unless May is being overly modest then Queen albums, it appears, are very much co-operative efforts.

"I suppose it seems like there's a rule that Freddie and I divide up most of the albums in that way but it's not. John is a very slow writer, Roger has more material than the group has done but it's just a question of choosing material to give each album the right balance. There are no hard and fast rules.

"In terms of contribution the creative balance has shifted to become much more of a group thing. With the enormous time we spend in the studio it's inevitable, and very negative, that much of the time we're not all there together, yet the contributions have become more complementary. This is a very crucial time for the group. It's the point where it would be easy for us to go off and do separate things but our strength, and that of any group, is that you realise how to use each other in that complementary fashion.

"That's the most important thing we have. It works not only on the music side where we work on all the arrangements, but in the writing, and in the very important psychological side where you're holding each other together on tour. We've come to know each others strengths and weakness and can play off one another.

"It's a very delicate balance and I'm very aware that it could very easily be upset by something even from outside which threatens the band internally. That's why it worries me if the media concentrate on me or Freddie.

"John and Roger are crucial to everything we do, they're not only a rhythm section. Nothing is farther from the truth. It's like John is the quiet one. All the press things about John say that, and it's true in many areas, but in others he's very much the leader.

"I visualise that the balance will change further internally as time goes by – adjust to individual changes. I expect that comes across to our hard core followers but the danger is with our mass audience, who only buy our singles, and who don't understand the group. I'd like everyone to be aware of the group as a whole not just me and Freddie.

"We were all late developers really. Late starters and now that John and Roger are fully involved they'll change, and have changed. It's interesting that we have arrived where we are so late. Like I was contemporary with the people in the Others. And someone like Jimmy Page who I've always admired right through the Sixties. He's only a few years older than I am.

"Most people make the decision to take music seriously a lot earlier whereas we were not let loose on the public till a lot later. But we were around, and were playing pretty interesting material. I could play you tapes of Smile whch have the same general structures to what we're doing today.

"I think if people heard these things it would answer a lot of the criticism that we were manipulated or pushed in certain directions. There was just no way to take what we were doing any further at the time.

"The world of music seemed unapproachable to us because it was hard to get an in without our fully committing ourselves. The odd gig just wasn't enough.

"I'll say one thing for punk rock at the moment. It is creating a way for groups which I think is maybe very healthy. I think maybe people are just being pushed into the limelight too soon, and there is a tendency to get swept along by image to the exclusion of musical direction, but if it's left I'm sure something valid will come out of it all.

"We never had that trouble because we were just totally ignored for so long, then completely slagged off and slated by everyone. In a way that was a good start for us. There's no kind of abuse that wasn't thrown at us. It was only around the time of Heart Attack that it began to change.

"I'm always affected by criticism. I think most artists are even if they say they are not. It doesn't matter how far you get, if someone says you're a load of shit it hurts.

"But that was just press response because for the rest it was always building up very steadily. Queen I sold really well over a longish period and coincided with our breaking ground concertwise. So we really had matured as a group and had our audience before the press caught on to us. I think that actually gave us a better start because we were more prepared.

"It's hard to think what could have given us the same sort of buzz as that initial recognition by people who would come and see us regularly around the time of our first album. The Hyde Park gig was a real high. The occasion rather than the gig. You know, the tradition of Hyde Park. I went to see the first one with the Floyd and Jethro Tull – great atmosphere and the feeling that it was free.

"We felt it would be nice to revive that but it was fraught with heartache 'cause there were so many problems. Trying to get the place was hard enough, let alone in the evening. We had to make compromises and in the end because the schedule overran by half an hour, which was remarkable considering the hassles, that loss meant we couldn't do the encore.

"It sounds trivial I know but that's the part of the show where we feel most at home. We've got the approval and can really enjoy ourselves, and to be denied that, having worked up to such a pitch was very hard to take. The encore isn't just a set piece, it's a bonus thing for us as well as the audience. It doesn't matter how tense the gig has been, the sense of release is always welcome. I was very depressed after Hyde Park."

Talking with Brian May there are times when it really seems as if he'd be, if not happier, then far more at home if he'd stuck to astonomy and an academic life. So how does he feel about being in a profession which seems to thrive on competition and its own category of oneup-manship?

"I hate to think of music as a competition, but that element is there and now we've reached a stage where there are a few groups who can draw big audiences so I suppose it is competitive in that sense. Whenever I meet a group on the road though, I just don't feel that.

"Competition can be good in some ways. As you know we're taking Thin Lizzy as a support in America and Thin Lizzy as a support band is a real challenge. They'll want to blow us off stage and that can be a very healthy thing. You feed off the energy of others and I know that if they go down a real storm then we're gonna go on feeling that much higher. It makes for good concerts. We've had it the other way round. I think we gave Mott The Hoople a hard time on our first tours of Britain and America.

"But really, this 'biggest is best' kind of rivalry I think is largely a media thing. Although, it does mean more 'cause it's easy to get a buzz out of success. You need new things to get excited about so we're doing Madison Square this tour. It's a thrill and a challenge, but after that I suppose we'll want to do something bigger and better.

"We're aware of the danger though because you can lose something along the way if you start doing really big places where you can't project. To say something for us I think we've done it gradually. We haven't tried to run before we could walk.

The last tour we could have done bigger venues but we chose to play smaller places for a few nights and did only the odd massive venue to get the feel of it. Now we feel we can really cope. Everything will be that much better, we'll be that much better – larger than life."

Doing it gradually – just in four years. Now that is something. A true Seventies group. Take it or leave it.

Retrieved from rocksbackpages.com

[my-never-ending-nightmare]

To Boddah

Speaking from the tongue of an experienced simpleton who obviously would rather be an emasculated, infantile complain-ee. This note should be pretty easy to understand.

All the warnings from the punk rock 101 courses over the years, since my first introduction to the, shall we say, ethics involved with independence and the embracement of your community has proven to be very true. I haven’t felt the excitement of listening to as well as creating music along with reading and writing for too many years now. I feel guilty beyond words about these things.

For example, when we’re back stage and the lights go out and the manic roar of the crowds begins, it doesn’t affect me the way in which it did for Freddie Mercury, who seemed to love, relish in the love and adoration from the crowd which is something I totally admire and envy. The fact is, I can’t fool you, any one of you. It simply isn’t fair to you or me. The worst crime I can think of would be to rip people off by faking it and pretending as if I’m having 100% fun. Sometimes I feel as if I should have a punch-in time clock before I walk out on stage. I’ve tried everything within my power to appreciate it (and I do, God, believe me, I do, but it’s not enough). I appreciate the fact that I and we have affected and entertained a lot of people. I must be one of those narcissists who only appreciate things when they’re gone. I’m too sensitive. I need to be slightly numb in order to regain the enthusiasms I once had as a child.

On our last 3 tours, I’ve had a much better appreciation for all the people I���ve known personally, and as fans of our music, but I still can’t get over the frustration, the guilt and empathy I have for everyone. There’s good in all of us and I think I simply love people too much, so much that it makes me feel too fucking sad. The sad little, sensitive, unappreciative, Pisces, Jesus man. Why don’t you just enjoy it? I don’t know!

I have a goddess of a wife who sweats ambition and empathy and a daughter who reminds me too much of what I used to be, full of love and joy, kissing every person she meets because everyone is good and will do her no harm. And that terrifies me to the point to where I can barely function. I can’t stand the thought of Frances becoming the miserable, self-destructive, death rocker that I’ve become.

I have it good, very good, and I’m grateful, but since the age of seven, I’ve become hateful towards all humans in general. Only because it seems so easy for people to get along that have empathy. Only because I love and feel sorry for people too much I guess.

Thank you all from the pit of my burning, nauseous stomach for your letters and concern during the past years. I’m too much of an erratic, moody baby! I don’t have the passion anymore, and so remember, it’s better to burn out than to fade away.

Peace, love, empathy. Kurt Cobain

Frances and Courtney, I’ll be at your alter. Please keep going Courtney, for Frances. For her life, which will be so much happier without me. I LOVE YOU, I LOVE YOU!

Happy Birthday, Kurt. 

[libramc]

🦋 Indicators of FAME in a BIRTH CHART 🦋

part one

warning: remember, to precisely determine fame potential you need to have more than one of these placements, I would say at least three or four of them. I'll make other parts of this series though, so don't consider exclusively this post.

ruler of the 11th house in the 11th house

the 11th house rules achievements, as well as fame. people with the ruler of the 11th house in the 11th house can get extremely famous, this is the hollywood type of fame. in fact, celebrities who have this placement are globally well-known: angelina jolie, johnny depp, al pacino, lauren jauregui, kylie jenner... to check if you have this placement, look at the 11th house in your birth chart. which sign does the cusp fall in? let's suppose it's virgo. if you have virgo in your 11th house, then you must have mercury placed there, as mercury rules virgo and hence the 11th house. if you have pisces, neptune should be in the 11th, if it's sagittarius then it's jupiter and so on.

neptune in the 1st house, neptune conjunct ascendant, ascendant in pisces

I noticed that many celebrities have prominent neptune in their charts. first of all, neptune is the planet of art in all of its forms. people with this placement are usually naturally skilled in artistic fields, hence they could get famous for their singing or dancing skills, or even for acting. next, neptune rules dreams and illusions, and celebrities aren't what they seem after all. we see them as higher, perfect people with totally different lives from ours. yet, it's obviously not true, they're humans just like us, and we're aware of it after all. despite that, we still keep idealizing them and judge them from what we're able to see. in fact, models also have prominent neptune in their charts, exactly for this reason. last but not least, neptune also rules images, covers, and hence someone with prominent neptune may often be featured on magazines, ads, social media, etc. examples: ariana grande, ellen pompeo, marylin monroe, billie eilish, whitney houston, anne hathaway, eminem, tom cruise, scarlett johansson, paul mccartney, freddie mercury...

personal planets in the 10th house

our personal planets are the sun, the moon, mercury, venus and mars. having them in our 10th house, especially if conjunct the midheaven, is a common placement in celebrities' birth charts. in fact, having a planet in a house means that we make that trait of ours more visible, it is the focus of our life. the 10th house rules career and reputation, so you do the math. the planet you have in the 10th house also describes the career you'll pursue. for example, actors will most likely have mercury (words, communication) or mars (action, movement, charisma), like selena gomez, marylin monroe, kathy bates, jessica lange, etc. a singer will have mercury (words, lyrics) and perhaps the moon (feelings, emotions) like adele, celine dion, lady gaga, christina aguilera, billie eilish, jim morrison, chris brown, liam payne...

leo sun, moon, rising or midheaven

leo is aquarius' sister sign. hence, it loves being in the spotlight. leos naturally crave attention and compliments, they feel comfortable being at the centre of attention. they're also blessed with an incredibly strong charisma that makes people attracted to them. in addition, they're gifted with creativity as well. just think of some of the most successful and famous celebrities out there: sandra bullock, kylie jenner, jessica lange, daniel radcliffe, lucy hale, blake lively, will smith, adam levine, nick jonas...

part of fortune in the 2nd, 5th, 8th, 10th or 11th house

as you can imagine from its name, the part of fortune indicates a point in your life where you're naturally skilled, where you're able to make the best fortune. in the second house, the part of fortune brings easy money, and we all know that most of the time fame makes one extremely rich. the fifth house is leo's natural house, and hence it rules creativity, drama and entertainment; an individual with their part of fortune in the 5th house may be naturally inclined towards creative outlets and being in the spotlight. the 8th house is another money house, even though it's a fame that is caused more by others. that is, if you have this placement, your #1 fortune would be your fans. also, many people with this placement are recognized as sex symbols, which influences their fame a lot. as for the part of fortune in the 10th house, it is the house of career, bringing natural ease and luck at work. last but not least, the 11th house rules fame and goals; people with their part of fortune in this house are the most dedicated to their goals, and they have the chance to achieve great fame and success for their achievements. examples: timothée chalamet, kurt cobain, angelina jolie, johnny depp, billie eilish, bill gates, gwyneth paltrow, zendaya, adriana lima, kobe bryant, mariah carey, sophia loren, vin diesel, brad pitt, steve jobs, amy winehouse, j.k. rowling...

ruler of the 10th house aspecting neptune

the 10th house is the house of career. having it in pisces, or having the ruler of it aspecting neptune is an indicator of artistic fame. the stronger aspects are the hard ones, hence having neptune conjunct, square or opposite the ruler of the midheaven is a major sign of fame and arts in a career. examples: jessica lange, sarah paulson, brad pitt, sandra bullock...

🦋 follow me for more 🦋

@libramc xx

[natromanxoff]

Record Mirror (July 14, 1979): 119/?

THE QUEEN BACKLASH ENDS HERE

WITHOUT DOUBT Queen are among that elite number of bands universally hated by the rock press.

The rancour is, make no mistake, mutual which is understandable. If you find yourself on the receiving end of an inveterate dislike at the outset of your career and watch it being nurtured and carefully cultivated over the next six years you’re bound to retaliate.

Queen’s hatred manifests itself by their continued habit of ignoring the music press i.e. refusing to give interviews. There is the occasional token “chat”, pointless as it is innocuous, but in the main it amounts to a blanket “No.”

One of the last interviews Freddie Mercury gave was the last nail in the perspex coffin. Under a headline which boldly asked ‘Is This Man A Prat?’ the king of the leotards was demolished by one of the old school Queen haters and Freddie obviously came to the conclusion, in its wake, that interviews in future would be both superfluous (he was popular enough) and detrimental.

The curtain, velvet naturally, closed.

Roger Taylor, a little wary, a little weary, sits stiffly in an armchair. The juggernauts rattling the Chelsea Street outside create a sonorous buzz bomb hum in the room.

You expect a member of Queen to look elegant. In fact Roger is only wearing a wine colour mohair jacket, black shirt and blue jeans.

He apologises for being a little late and explains how he went to the wrong address. Roger seems to be the only member of Queen left who is prepared, albeit rarely, to open his mouth in the presence of a hack. A question springs to mind . . . why?

“We all sat around a table before I flew over from Munich to discuss the press situation and we agreed I should be the one to represent the band. Freddie is very uncompromising and refuses to have much to do with journalists.

“Obviously, he’s had a few raw deals with them in the past,” observes Taylor.

Roger himself has a rather low view of the music press.

“Most of it is rubbish. There was something I liked recently, a piece on Malcolm McLaren, but in the main I think I’m the only one of Queen to actually read the music papers.”

Why does he think the band are systemically slagged?

“I think it’s because Queen have always come across as being a rather confident band. We seemed, to other people at least, to be very sure of ourselves. I think the press may have misconstrued the confidence, mistaking it for a form of arrogance. Hence they became wary of our motives which bred a dislike for our music.”

Now that’s what I call a neat conclusion.

At the risk of being sent to Coventry by my colleagues I’d like, if I may, to come clean. I love Queen (you’re fired, Ed).

I think it all began with a simple pre-packed but indisposable line – “Dynamite with a laser beam” and has continued uninterrupted (despite the occasional flaw) right through to ‘Queen Live Killers’.

A combination of reasons, Freddie Mercury’s lascivious lisp – the most attractive intonation known to man . . . Brian May’s reel ‘em off rococo riffs that would, in his capable hands, transform the theme music for ‘Waggoners’ Walk’ into a meisterwork . . . John Deacon’s almost stoic stance, incongruous yet integral . . . Roger Taylor’s intense power, so unexpected from one so slight . . . the ability to go over the top without failing into the trap of caricature . . . a desire to give the punters what they want without pandering . . . that cast iron confidence . . . those nine glorious winter weeks of ‘Bohemian Rhapsody’ which kept the cold away from my soul . . .

Yes, I love Queen.

Roger explains the story behind ‘Killers’ which features just about every Queen classic which ever found its way into a silk lined memory bank.

“We always knew that one day we would make a live album. I think it was well planned. About 90 per cent of our last European tour was recorded on a mobile unit and we then spent weeks sitting through the songs in the studio.

“The result is a 100 per cent LIVE album. Nothing has been touched up in the process of selection, I think that’s pretty rare these days. Many ‘live’ albums are tampered with.”

The choice of single is unusual – ‘Love Of My Life’. “It’s not so unusual when you hear the way it came out. The song seems to have such a wide appeal. Everywhere we go the reaction to it is the same. The audience are just bursting to sing along.”

The result is Queen’s best single since ‘Don’t Stop Me Now’ (that was their LAST one crawler, ED)

As I mentioned earlier the band are currently residing in Munich where they are “experimenting” in the studio.

“We are recording in a totally different way for us,” says Roger who speaks with a delicate London accent only typical of cockneys with dramatic training and David Essex.

“Every time we entered a studio in the past we had a good idea of what we were going to do. This time we started from scratch and the result is amazing. The music is nothing like anything we’ve done before, I guess you could say it’s much simpler.”

And this novel approach to their music also extends to their shows. On their next British tour – in the late Autumn – the band will be playing much smaller venues than they are accustomed to.

“In London for example we went to play to audiences of about two or three thousand in different areas. I think it’s much fairer to the fans.”

But won’t this affect their stage show which is after all a crucial factor for any powerpomp outfit?

“Not really. We will just scale down the show accordingly. Besides,” he says taking another bite out of the biscuit, “we haven’t used dry ice in years.”

The monkey on Queen’s back, as corpulent and cantankerous as ever, has been put there by those who firmly believe the band can never emulate past achievements. Roger is cognizant of its presence but refuses to unpeel its bananas.

“That all began after ‘Bohemian Rhapsody’. When it stayed at number one all those weeks we were kindly informed that we would never be able to make another single to rival it both artistically and from the point of view of sales.

“Yet ‘We Are The Champions’ sold a great deal more and has since become the biggest selling single in the entire history of Elektra Asylum – our label in the States.

“We don’t do the amazingly complex things any more because we’ve moved on from that. We concentrate on the music we are doing now and we intend to do it the best we can, it’s ridiculous looking behind and and what you’ve done.

“There’s nothing like going back on the road to re-unite the bond between the four personalities and strengthening our belief in the band. We are a real working unit and, in my experience of the music business, one of the most democratic bands around today.”

A statement like that cries out to be expounded.

“People think every member of all the bands, not naming any names, are treated equally that is get the same money as their colleagues. That’s rubbish. In many bands there are a couple of guys that get all the money. The rest are on wages. Queen share the profits equally.”

And they don’t have a manager taking his cut either, John Reid departed a couple of years back and now the band themselves make all the major policy decisions. Why did they decide to dispense with the services of a manager?

“Basically because we were fed up with giving other people money. Y’know it never ceases to amaze me how naive those guys are in bands who have just had their first hit. After all this time I’ve forgotten just how naive we must have been at the beginning.

“I mean, everything seems so great when you get into the charts for the first time. You’re living on cloud nine and nothing else matters. But in truth that hit means absolutely nothing. So few people achieve any amount of financial success in this business.

“Oh, you think, you’re really living . . . for a while. Somebody gets you a flat in Chelsea and it’s all free. But one day the rent stops being paid for you and you realise you’re skint.

“Since John Reid has gone the four of us have always made a point of discussing everything together. We have various people working for us but all the important decisions are made by us alone. That way we get freedom of choice – and financial independence.”

My attention is suddenly diverted.

“FORTY-LOVE!” Wimbledon, the Persil White opiate for the hoi polloi squashed in a strawberry crush wrings out its perspiring petticoats on the TV in the next room.  Roger’s girlfriend, an extremely attractive French girl called Dominique, is engrossed. The couple have lived together for two years. Crippled old marriage questions permeate the air.

“I don’t believe in marriage,” says Roger. “It’s simply a contract and the fewer contracts I enter into the better. If you get on well with someone then there isn’t any harm in living with that person – but marriage is something else again.”

They live in a six bedroomed Victorian house just outside London, which is set in 20 acres. Roger has a “tiny” town house in Barnes as well. What’s it like having a bank full of money at the age of 29?

“I don’t hide away from life. Queen have never been one of those ‘being grabbed in the street’ type bands. It may happen when the four of us are together – but when we are out alone we are seldom bothered. That gives me the opportunity to enjoy myself. I go to clubs a lot. I like having a good time. I don’t think you could describe any of the band as leading sheltered lives.

“But I have completely lost touch with how much things cost. When you find yourself living in hotels for so long you never really deal in money as such. Everything is available whenever you want it – but you never see the cash actually being handed over.

“I’ve forgotten what it was like to be penniless which Queen were for years. I guess that must happen to many successful rock bands.”

Another thing that happens to many successful rock bands – they quit the country. But not Queen it appears.

“We have always based ourselves in England and I see no reason why we shouldn’t continue to do so. We could leave at any time but we choose to stay. People believe we are tax exiles because we spend a lot of the time out of the country recording in studios all over Europe and touring.”

And what will happen when the band finally trudge wearily down the road leading to that  ivory strewn elephants’ graveyard . . . ?

“I know it’s bound to happen one day. I suppose I’d take a long, long holiday . . . and then make a solo album.”

[heavensucks]

To Boddah pronounced

        Speaking from the tongue of an experienced simpleton who obviously would rather be an emasculated, infantile complainee. This note should be pretty easy to understand. All the warnings from the punk rock 101 courses over the years. Since my first introduction to the, shall we say, ethics involved with independence and the embracement of your community has proven to be very true. I haven't felt the exitement of listening to as well as creating music along with reading and writing for too many years now. I feel guilty beyond words about these things. For example when we're backstage and the lights go out and the manic roar of the crowd begins it doesn't affect the way in which it did for Freddy Mercury who seemed to love and relish in the love and adoration from the crowd. Which is something I totally admire and envy. The fact is I can't fool you. Any one of you. It simply isn't fair to you or me. The worst crime I can think of would be to rip people off by faking it and pretending as if I'm having 100 % fun. Sometimes I feel as if I should have a punch in time clock before I walk out on stage. I've tried everything within my power to appreciate it, and I do. God, believe me I do but it's not enough.

        I appreciate the fact that I and we have affected and entertained a lot of people. I must be one of one of those narcissists who only appreciate things when they're gone. I'm too sensitive. I need to be slightly numb in order to regain the enthusiasm I once had as a child. On our last three tours I've had a much better appreciation for all the people I've known personally and as fans of our music, but I still can't get over the frustration, the guilt and empathy I have for everyone. There's good in all of us and I think I simply love people too much. So much that it makes me feel too fucking sad. The sad little, sensitive, unappreciative, pisces Jesus man! Why don't you just enjoy it? I don't know. I have a goddess of a wife who sweats ambition and empathy and a daughter who reminds me too much of what I used to be.

        Full of love and joy kissing every person she meets because everyone is good and will do her no harm. And that terrifies me to the point to where I can barely function. I can't stand the thought of Frances becoming the miserable self-destructive, death rocker that I've become. I have it good, very good, and I'm grateful, but since the age of seven I've become hateful towards all humans in general. Only because it seems so easy for people to get along, and have empathy. Empathy! Only because I love and feel for people too much I guess. Thank you all from the pit of my burning nauseous stomach for your letters and concern during the past years. I'm too much of an erratic, moody baby! I don't have the passion anymore and so remember, its better to burn out than to fade away. peace, love, empathy. Kurt Cobain

Frances and Courtney, I'll be at your later.

Please keep going Courtney

For Frances

For her life which will be so much happier without me. I Love you. I love you!

[a-froger-epic]

tw: mention of eating disorders

hey i read something about freddie having an eating disrorder, and I hate asking this but could you please explain if you know anything about it. my poor baby :(

Hey anon!

I’m sorry it took me a while to reply. This is a sensitive topic for many, so I wanted to take my time and give you the nuanced reply it deserves.

I’ve talked about this a little before, but I might as well take the opportunity now to speak about it at length. This is only my personal opinion based on everything I’ve read about Freddie and many different takes I’ve seen others put forward.

So, did Freddie have an eating disorder?

The shortest answer to that, as far as I’m concerned, is... maybe?

Before I carry on, I’d like to say that I think everyone is free to speculate about this and make up their own mind, as well as creatively explore this in their writing, and I don’t consider my opinion to be any more correct than anyone else’s.

Why do people think Freddie might have had an ED?

There are a few things about Freddie and food which could be interpreted as ED behaviours. First off, here is what Phoebe has to say about Freddie and his eating habits:

His taste in food changed over the years I was with Freddie. When I started the group of us would make monthly visits to the restaurant Shezan, an Indian eatery, in Knightsbridge. Freddie never had a menu as they always provided his favourite selection of foods without asking. As his illness progressed, his taste buds could not take the assault of spicy foods and he tended to more bland foods. He also turned his eating habits around. He used to have a lighter meal at lunch and then have a big meal in the evening, usually at a restaurant with a big group of friends. Towards the end he would eat more at lunch and a smaller meal in the evenings.

Nothing much out of the ordinary here, as far as I can see. Freddie definitely had favourite foods he enjoyed, but then, a common misconception is that people with EDs don’t like/enjoy food, and that isn’t true. Phoebe also says this:

As I have said before, Freddie was a very light eater. Some of us live to eat, but Freddie was one of those people who ate to live. He was the master of moving food around the plate to give the appearance of having eaten a good amount. He did enjoy good food, but really didn’t need to consume very much. He loved entertaining guests at meals in the dining room at Garden Lodge and was able to disguise his non-eating by making sure everyone else was ok during the meal. Don’t get me wrong, Freddie always ate enough to keep him going, but I can’t remember one time when he leant back in the chair saying ‘I’m stuffed!’

Now here we have a lot of things to unpack. There are three things in here - moving food around the plate to give the appearance of having eaten more, disguising his non-eating and never eating enough to be full - which are definitely known ED behaviours.

However, people who just do not care about food all that much and are light eaters do also exist. In fact, I’m one of them myself. I did struggle with Disordered Eating in my teens and my early 20s, but I have a healthy relationship with food now and I never like to eat until I’m stuffed because it’s not a nice feeling, physically, to overeat. I’m also someone who easily and genuinely forgets to eat when I’m in a creative haze. Just as an example.

Also, seeing as Freddie most likely was made to finish meals all throughout his boarding school times, like many children in lunch halls, which is usually not a great experience for children who are picky or light eaters, the “moving food around the plate to make it seem he’s eaten” could well be an old habit stemming from there.

Either way, Phoebe doesn’t seem too concerned about Freddie’s eating, and even though people with EDs are very good at hiding them, Phoebe did know him for a long time and very, very well. Phoebe could also be withholding information that he considers too private. All of that is possible, all of that is speculation.

There are other things which point to the fact that Freddie was definitely preoccupied with his weight/appearance. In this interview in 1974, he says:

“Oh really,” he exclaims in disgust, “this paper has no flair - I mean to print this picture three times in succession … and just look at my arms!” He was horrified, “look at how fat they appear, now my arms aren’t like that at all - what do you think?” He rolls up his sleeves for me to inspect and I’d like to state here and now that the poor dear’s arms are quite, quite slender!

The photo Freddie is most likely talking about, is this one:

It’s not a very fortunate angle, admittedly. So I think it’s possible to see where he was coming from, but even so, he was worried about his arms looking fat at a time when he looked like this:

Yes, it is important to keep in mind that people were generally thinner in the 70s than we are used to now. (Brian, for example, was also incredibly thin.) But in this picture it really is evident that Freddie was very, very thin at this point.

Other things which are often brought into the discussion around Freddie’s eating habits is the account of him throwing a fit when Brian ate one of his biscuits once, choosing to walk after a meal at a restaurant while his driver drove alongside him and his friends, eating cereal on the floor in his dressing room, this picture where he clearly prefers salad to chicken wings (unlike Roger “What Even Are Vegetables” Taylor):

All of the above, to me, are things which can be heavily read into but ultimately don’t prove very much.

And there is this bit from Mercury & Me:

The Sun did later print a photograph of Freddie taken while he was performing at the festival, which he didn't appreciate. It showed off "Flabulous Freddie" with a slight paunch, wickedly describing it as his "midriff bulge". When he saw the picture he looked at me and shook his head in despair. 'It's typical,' he said. 'If I'm slim the papers say I'm too thin and if I put on a little bit of a belly they say I'm too fat. It's a no-win situation.'

Now, that doesn’t give off the impression to me that Freddie was particularly distraught about that article, at that point in his life. But it certainly appears to have bothered him to some degree.

So what’s the conclusion?

To me, personally, it seems quite likely that Freddie did suffer from Disordered Eating in the early to mid 70s. That’s really not uncommon, sadly, although it usually afflicts young women more than young men. But he was in the spotlight and had to care about his appearance. He was clearly very preoccupied with it, not only when it came to his body, but his looks in general - there is plenty of evidence regarding that. He was very selective about which photographs of himself he did and didn’t like. However, I find it impossible to say just how much this preoccupation affected him exactly. 1974 especially was also a very taxing year for Queen. Their management was shit, they struggled with money, they almost lost Brian, their touring schedules were brutal, the press was bashing them, Freddie was struggling with his sexual identity. There were a lot of immense stress factors, and he could have very well been someone who responded to stress by not eating - just like others respond to stress by eating too much. And Disordered Eating is not classed as an eating disorder. It is, if you will, the beginning of one.

Or, he absolutely could have developed or already had an actual ED which he was hiding fairly well, and it could have affected him a lot, but nobody would have ever known because he would have been unlikely to ever speak to anybody about it.

Both is possible. I simply don’t think that there is enough information to do more than speculate on the matter, beyond: He had a preoccupation with his looks and minded what and how much he ate throughout his life.

However, in the second half of the 70s as well as the 80s, he was still thin but had started working out and looked more “athletic” thin rather than gaunt. I think it’s entirely possible that whatever issues Freddie had with food were not a constant thing but something that may have been worse and better at times, depending on his overall mental well-being and his levels of confidence.

Or, it could have been something that he always struggled with.

Again, as far as I am concerned, both is possible and I don’t feel I can say for certain. And so, my take leans towards Disordered Eating when younger and less preoccupation with it later on. That’s the impression I get.

But I wrote all this out so that others can make up their own minds, and rather than share my exact opinion, I encourage you to do just that.

[melisa-may-taylor72]

QUEEN BEFORE QUEEN

THE 1960s RECORDINGS

➖➖➖➖➖➖➖➖➖

PART 1:

BRIAN MAY, 1984 & THE LEFT HANDED MARRIAGE

JOHN S. STUART AND ANDY DAVIS DIG DEEP TO UNCOVER THE PREVIOUSLY UNDOCUMENTED AUDIO LEGACY OF ONE OF THE WORLD’S MOST CHERISHED BANDS.

This month the beginning and end of Queen come together like the cosy ending of a contrived Hollywood drama. While fans wait with bated breath for the band’s final album, “Made In Heaven" — completed by Brian May, John Deacon and Roger Taylor with the aid of Freddie Mercury’s last demos — author Mark Hodkinson launches a new book in which, in greater detail than has ever been attempted before, delves into the pre-fame histories of Queen’s musical antecedents.

With previously unpublished photographs of Roger Taylor's the Reaction, John Deacon’s the Opposítion and even more impressively, Freddie Mercury’s Sour Milk Sea, ‘Queen The Early Years’ is a treat fans have waited too long to read. Coincidentally, six months ago, we commissioned Queen historian, John S. Stuart, to research the definitive article on the band’s pre-fame recordings, and as you’ll see, the results complement Hodkinson’s broader picture with hitherto undocumented details of Queen's 60s recordings.

We've touched on Larry Lurex and Smile before, of course, but the vinyl output of those two acts barely scratches the surface, so to speak: literally hours and hours of privately- recorded material of Freddie, Brian, John and Roger survive to this day — as evidenced by the recent discovery of the Reaction’s ‘In The Midnight Hour’ acetate ( see RC 191). So, while the rest of the world comes to terms with the fact that Queen’s recording career is effectively at an end, we unravel the untold history of four individuals' first tentative steps in front of the microphone, beginning with the 1960′s exploits of Brian May. Next month, we’ll embrace Smile, and John, Roger and Freddie's hidden amateur recordings; but first, 1984 and the Left Handed Marriage.

1984

Around late August, or early September 1963, as the Beatles celebrated the birth of Beatlemania with sessions for their “With The Beatles” LP at EMI’s Abbey Road Studios in North London, another rock legend was developing just around the geographical corner. In a semi-detached house in Feltham, Middlesex, electronics engineer Harold May began an 18-month task, helping his sixteen-year-...[ ]

[ ]...old son, Brian, to construct the world's most famous home-made guitar, the ‘Red Special'. In the mean time, Brian would have to be con­tent with thrashing away at the small Spanish acoustic his parents had bought him for his seventh birthday. (Brian evidently mislaid this childhood guitar shortly afterwards; and didn't see it again until 1991, when at a ‘reunion’ of former members of 1984, his schoolfriend and first musical collaborator, Dave Dilloway, returned it to him. Brian was so thrilled, that he featured the guitar in the video for Queen’s “Headlong" single).

By 1964, Brian and Dave Dilloway were already recording amateur duets together, and by linking up their two reel-to-reel tape docks, they discovered that they could lay down guitars on one machine, and perhaps bass, percussion and sometimes vocals on the other. Although the technique was crude, and despite the occasional disaster, the effect was often surprisingly good. One of the earliest tapes from these primitive recording sessions survives to this day, and features Brian belting out Bo Diddley’s eponymous R&B standard, "Bo Diddley".

“This is a mono quarter-inch, reel-to-reel I found buried among various other oddments from the era”,  recalls Dave Dilloway. “It certanly dates from before the formation of 1984. It was recorded in Brian’s back room in Feltham, with Brian on lead vocals and guitar, and myself on bass and drums. The track is basic, but Brian’s vocals are clear and recognisable. The guitar playing is fairly basic as well, but competent, without any real solos as such”.

“ This is the only tape in my collection of those double-track recordings. I’m unsure whether Brian himself has retained the tapes we made at the time, but I believe he usually ended up with the finished versions, so he may still heve them somewhere.”

 The duo also recorded four-track instru­mental cover versions of several Shadows tunes — “Apache”, “FBI”, "Wonderful Land” and "The Rise  And Fall Of Fingel Blunt” — as well as “Rambunkshush”, which they learned from the Shadows’ American counterparts, The Ventures.  Also on the same tape is their reading of Chet Atkins' “Windy And Warm".

 Yet another reel reveals an attempt at Cliff Richard’s "Bachelor Boy", on which Brian, once again, takes the lead vocal. Dave Dilloway's theory is probably correctt; May is known to have a meticulously catalogued personal collection of Queen (and pre-Queen) recordings and memorabilia, which almost certanlly contains unfathomable reels of similar early material.

In the autumn of 1964, Brian and Dave formed a rapidly-evolving band, through which many schoolmates passed, but which eventually settled with a line-up of bassist John 'Jag' Garnham, drummer Richard Thompson, and harmonica-playing vocalist Tim Staffell. After rejecting names such as the Mind Boggles and Bob Chappy & the Beetles, the quintet named themselves after George Orwell’s futuristic novel ‘1984’. Their look was far from sci-fi, however, and they happily adopted the classic, clean-cut beat- group look of the day: jackets, or in Brian's case a cardigan, and narrow trousers; and beat boots. Tim Staffell even acquired that year’s fashion accessory, a pork-pie hat.

The band rehearsed regularly at Chase Bridge Primary School Hall in Twickenham (located next to the rugby ground), and on the 28th October 1964, gave their first public performance at the nearby St. Mary’s Church Hall. It is believed that either one of the rehearsals, or the gig itself, was recorded, but unfortunately, no tape of this debut, perform­ance has survived the years. Although 1984 recorded almost all of their live concerts for their own critical appraisal, to save on the expense of new tape they often wiped over old reels once they’d listened to them. Nevertheless, evidence of Brian May playing live does survive from this period, and the earliest example dates from an unknown gig (Shepperton Rowing Club is the favoured consensus), recorded in late 1965. This wasn’t a 1984 performance, but rather an ad-hoc trio comprising Brian May on bass and vocals, Pete ‘Woolly’ Hammerton (a school friend of Brian’s) on guitar and vocals, and 1984's Richard Thompson on drums. The tape reveals the trio turning in versions of Martha & the Vandellas’ “Dancing In The Street", the Beatles' “Eight Days A Week”, “I’m Taking Her Home” — a song by the group Woolly later joined, the Others — and a brave attempt at the Who’s "My Generation".

The Others comprised older boys from Hampton School, who in October 1964 had issued a single of their abrasive reading of Bo Diddley’s “Oh Yeah", backed by “I’m Taking Her Home", on Fontana (TF 501). “That was good!" claims singer, Tim Staffell. “I’ve still got that record buried somewhere deep in my mind — I remember the singer, Paul Stewart's voice and the quality of the guitar sound. The Others were a pretty significant influence. Maybe not in terms of the music, more in the sense that they were already doing it, which proved it was possible."

As evidenced by the photograph included in this feature, the Others clearly had attitude, something which 1984, or Tim Staffell at least, could only aspire to “If I had tried to push 1984 in any direction," reveals Tim, “then that would have been it. Without hearing any of these tapes of our band — and I didn't even know they existed! — l’d say we probably sounded a lot safer than the Others. Mind you, they were different to us. Their guitar style was very much inspired by American R&B, whereas Brian’s never was. Brian was a unique guitar player: he was able to extemporise a much more original way than most guitar players could. I hope he’ll forgive me for saying so, but I never perceived him as having the dangerous image which was necessary at the time — the cardigan says it all!.

LIGHTWEIGHT

“In retrospect, 1984 was lightweight, a bit fluffy”  concedes Tim. “It was impossible not to be naively ambitious — that was part and parcel of it — and the primary motivation to do it was what we saw in the media as the end results of success. But I guess we were realistic about it — we were at school, after all. Also there was a good deal of pressure in the 60s from our parents, and the conser­vative generation, to conform."

Although a version of “I’m Taking Her Home” by 1984 was captured live on the Shepperton tape, and Brian occasionally guested with the Others on stage, it's worth stating once and for all that — despite the persistent rumours — he definitely doesn’t feature on "Oh Yeah".  In fact, Pete ‘Woolly' Hammerton doesn't even play on the record — he only joined the band formally later on.

In the autumn of 1965, leaving Hampton Grammar with no fewer than four 'A' Levels and ten ‘O’ levels, Brian enrolled at Imperial College in Kensington, London, to read physics and infra-red astronomy. Before breaking up for the Christmas holidays that year, he played the first in a series of gigs with 1984 at the college, a tradition he continued later with Smile, and in their formative days with Queen. Although the exact date of the event has long since been forgotten, a very poor- quality tape still exists of 1984‘s college debut. The set was a typical one, comprising the group’s broad blend of pop, R&B and soul covers, and included the following songs: “Cool Jerk" (originally by the Capitols), ‘Respect" (Otis Redding), "My Girl" (the Temptations), “Shake" (Sam Cooke), “Stepping Stone" (the Monkees), “You Keep Me Hanging On" (the Supremes), “Whatcha Gonna Do Ahout it" ( Small Faces), “Substitute” (the Who), “How Can It Be” (the B-side of the Birds’ final single, “No Good Without You Baby”), “Danc­ing In The Street", “Dream" (Everly Brothers) and the Small Faces’ "Sha La La La Lee".

“Our repertoire was a little too eclectic to have developed into any particular style” reckons Tim Staffell. “But the Small Faces were quite influential. When we were at school, the songs were dredged from all sorts of areas. I’d always liked rhythm’n’blues. Brian’s input would have been Beatles-orientated, Dave’s as well. Richard Thompson would have been more into R&B, and Jag didn't really have an agenda as far as songs were concerned. Because of the nature of the material we covered, our approach to the gigs was almost schoollboy cabaret. 1984 was not a dangerous, moody rock band! Which may have something to do with the way Queen evolved."

1984 oponed 1966 with a couple of gigs at the Thames Rowing CIub in Putney; and once again, a tape recorder was set up to document the group’s progress. Two reels from January that year exist: the first is dated the 15th, and features “Im A Loser” (the Beatles), “I Wish You Would" ( the Yardbirds), “I Feel Fine" (the Beatles), “Little Egypt" (the Coasters), "Lucille” (Little Richard), “Too Much Monkey Business" (Chuck Berry), "I Got My Mojo Working” (Muddy Waters), "WalkingThe Dog” ( Rufus Thomas) and “Heart Full Of Soul" (the Yardbirds).

The second, dated two weeks later (29th January), demonstrates the great variety and confidence of a band which consistently renewed its repertoire. The show began with Jimmy Reed’s  “Bright Lights, Big City", moving into the Cookies' “Chains" (popularised by the Beatles), “Walking The Dog", “Lucille", “Our Little Rendezvous" (Chuck Berry), “Jack O’ Diamonds" (Blind Lemon... (cont)

(cont) Jefferson, popularised by Lonnie Donegan), “I’ve Got My Mojo Working”, “Little Egypt" and Bo Diddley’s “I’m A Man”. The band’s finale was a versión of Sonny Boy Williamson’s "Bye Bye Bird".

For an amateur band with little real pretension towards stardom, or even a serious attempt at securing a recording contract, a staggering amount of live 1984 material has been preserved on tape. Dave Dilloway, for instance, is the guardian of a seven-inch reel-to-reel, which he says reveals either a very long performance or a compilation of various unknown dates.

Either way, the tape is divided into five distinct sections, which might make tedious reading, but is an invaluable reference: 1) “Route 66", (unknown instrumental), “I’m Taking Her Home", “Too Much Monkey Business’, “Yesterday" (featuring Brian May on lead vocals), “Walking The Dog", and “ Lucille"; 2) “Little Rendezvous", "Keep On Running”, “I Feel Fine”, “Walking The Dog”, “Jack O’ Diamonds", “High Heeled Sneakers", “I Want To Hold Your Hand", “I Got My Mojo Working*, and “I Should Have Known Better”; 3) “Little Rendezvous", “Jump Back Baby Jump Back", “I Feel Fine”, “Bye Bye Bird", “Little Egypt", “Crazy House". “Lucille”, “Oh Yeah”, “Heatwave”, “Too Much Monkey Business", “I Should Have Known Better", and “I Got My Mojo Working"; 4) “My Generation", “Little Egypt", “Dancing In The Street", “Whatcha Gonna Do About It", “I’m A Man", “Heatwave", “Lucille", and “Bye Bye Bird"; and 5) “Heart Full Of Soul", “Too Much Monkey Business”, “Something’s Got A Hold On Me", “Keep On Running", “My Generation", "Tired Of Waiting", “Bright Lights. Big City" and “Happy Hendrick’s Polka".

“These are all domestic quality, single microphone recordings of early-era 1984", reveals Dave Dilloway. “It's mostly bluesy material, with some soul and Beatles songs. While the quality is basic, the sound is intelligible, although there isn’t a large amount of identifiable Brian guitarwork. That came later in the band's history, when we included covers of Crearn and Hendrix. Brian's solo vocals on 'Yesterday' (on the first segment) are quite clear, however."

For much of 1966, the band carried on in a similar vein — Brian's and the others' college work permitting, of course. For Brian May and his unsigned, Twickenham-based covers band, the highlight of the following year, 1967, was undoubtedly the gig he secured via through his contacts at the college — supporting Jimi Hendrix at Imperial. The date was 13th May, the day after the release of Hendrix's debut, “Are You Experienced". Brian May idolised Hendrix to such an extent that he'd been nicknamed “Brimi" — a combination of the two guitarists' names—so although 1984 had seen him perform before, it goes without saying they were thrilled when backstage, they actually bumped into the ascending star as they filed past his dressing-room. It’s a familar story, but it's one worth repeating: Jimi enquired memorably, “Which way’s the stage, man?*.

BLOSSOMED

1984's act had certainly blossomed by this point. Their attire was now obligatory Swinging London — or Swinging Middlesex — fare: frilly shirts, Regency jackets, striped hipsters secured with a white belt, and hairtyles extending inexorably over the ears, and indeed the eyes. “Somewhere along the line, there was an external influence there", says Tim Staffell. “There was someone calling the shots. I don’t think all that was self-motivated. It’s something I’ve never been comfortable with, which explains why I split away from it early on — certainly from Smile onwards — because it was going that way; as indeed it ended up with Queen. It's fair enough, but that sort of flamboyance is just not me. I look fairly uncomfortable in the picture of the band from that period. My idea of a rock musician is one with hair down his back, a dirty pair of Levi's on, looking at the floor, thoroughly unconcerned with the visual and external trappings, playing the most extraordinary virtuoso guitar. That was my attitude."

Back in February 1967, Brian’s local paper, the ‘Middlesex Chronicle’ caught up with the band, and captured Tim Staffell in an equally decisive mood; although here, he was more enthusiastic about the latest trend. "Psychodelic music is certainly here to stay”~he claimed. "It makes more of music than mere sound, it makes it a whole and complete art form." Dave Dilloway, who also handled the group's light show, added: “We use everything in our act, including things like shaving foam, and plastic bricks we throw around”.

The ‘Chronicle’ was obviously impressed, and its reporter had this to say about a per­formance by what it called “one of the most foward-looking groups today". “Standards, like ‘Heatwave' receive a very original treatment, mostly due to the sounds that Brian coaxes out of his guitar. Jazz chords and electronic sounds add feeling and nuance to numbers that are often churned out wholesale. Using two bass drums for a fuller sound, Richard's drumming, combined with the full bass riffs of Dave and the steady (rhythm guitar) work of John, provides a firm basis for experiments in sound — an opportunity which is not wasted."

“To be quite honest with you, there’s more substance in the literary content there, than in the musical," laughs Tim Staffell. "If some­one genuinely thought that, then I'm surprised! Brian might have used a fuzz-box. but generally, it was au naturel. I remember in the Smile days, somebody wrote about ‘humming chords of wonder’, referring to my bass playing. The reality of it was that sometimes I did try and play chords on the bass guitar, which might have come out as a deep-throated roar, but actually sounded like a load of crap!"

“We did use to tickle about with a few lights, suggests Dave Dilloway, “but being a local band, money was tight and there wasn’t a fortune to spend on the band." As to 1984's psychodelic sound, Dave adds: “Brian did use a bit of fuzz, yes, and Pink Floyd influences and a bit of screaming guitar. He’d actually built a fuzz box into his guitar, which was fairly unique for the day, but typical Brian. If you look carefully at recent pictures of his “Red Special” you can see the fuzz switch taped over."

In September 1967, no doubt boosted by their praise — sincere or not — in the local press, the continuing evidence of their per­formance tapes and their recent Hendrix support slot, 1984 entered the local beats of a battle-of-the-bands competition at the Top...[ ]

...[ ] Rank Club in Croydon, just south of London. Effectively a promotion for Scotch tape, en­trance to the contest could only be secured via a demo recorded on a Scotch reel. 1984’s effort duly arrived in the form of a two-track master, featuring covers of Marvin Gaye's “Ain’t That Peculiar?" and the Everly Brothers’ “Crying ln The Rain" (on stage, both tracks were usually enhanced by characteristic Brian May guitar solos, but conservatism prevailed, and they were absent in this instance). A copy of this recording still survives, carefully guarded by the custodian of the 1984 archive. “This tape is a quarter-inch, mono reel-to-reel," re­calIs Dave Dilloway. “Tim took lead vocals on 'Ain't That Peculiar?’, and Tim and Brian duetted on ’Crying ln The Rain’. Brian's vocal style and tone can be clearly discerned, if one knows his voice. The songs were recorded in single takes, using a single microphone fed directly to the recorder. There was no mix facility so it has a ‘live' feel, a very good clean sound”. 

The mix was achieved using the old fashioned technique of microphone position and relative volume levels of the amplified Instruments. “As far as I am aware, only the one (master) copy of this tape exists.”

As has been well-documented, after two sets at the competition (one of which saw Brian, Dave, John Garnham and drummer Richard Thompson acting as the back-up band for a singer called Lisa Perez), 1984 won the contest, and walked away with a reel of blank tape (Scotch, of course) and an album each on the CBS label. (Tim took the top prize, Simon & Garfunkel’s “Sounds Of Silence", Brian had to make do with a Barbra Streisand LP, and Dave Dilloway became the proud owner of an album by Irish bandleader Tommy Makem!). More importantly, their demo tape was forwarded to the CBS A&R department for the national showdown, although, clearly, they didn’t win.

True to form, 1984's performance that evening was committed to tape — for an unpublished review by ‘Melody’ Maker, no less — but was probably erased shortly afterwards. The twenty-minute set consisted of the Everlys’ "So Sad", Hendrix’s “Stone Free”, Buddy Knox’s “She’s Gone" and Eddie Floyd's “Knock On Wood". After the gig, the band were invited by a visiting promotor to participate in the all-night gala event which has since gone down as one of the key gigs of the London underground scene: Christmas On Earth Continued, at London's Olympia Theatre, on December 23rd 1967. 1984 was the lowest pro­file act at this decidedly high-profile event, and after Jimi Hendrix, Traffic, Pink Floyd, the Herd, and Tyrannosaurus Rex had all taken to the stage, they only got to perform their humble set of covers at 5 o’clock in the morning. When Brian finally plugged in his ‘Red Special’, 1984 played a thirty-minute set to a very small, and less than enthusiastic, audience.

Also from 1967, and of far more interest, is 1984′s professionally-recorded Thames Television demo tape. During his first-year of study at Twickenham Technical College, Dave Dilloway had made friends with a number of technicians, or trainee technicians, at the Teddington-based ITV company which served the London area. The station had recently invested in new recording equipment, and rather than hire professional musicians at the usual union rate, in a set up similar to the first Queen sessions at the De Lane Lea studios, 1984 were let loose in the studio to record at their leisure. Dave Dilloway's carefully preserved tape still plays perfectly, and includes the following songs: "Hold On I’m Corning", “Knock On Wood“, “NSU", *How Can It Be”, two early run-throughs of the original May/ Staffell composition “Step On Me” (which eventually became the B- side to Smile's “Earth"), “Purple Haze", “Our Love Is Driftin* ”, and medleys of “Remember”/”Sweet Wine" and “Get Out My Life Woman”/ ”Satisfaction". The session ended with a run-through of "My Girl”.

AMALGAM

"What an extraordinary amalgam!" declares Tim Staffell today. “There’s Tamla, Cream, Hendrix, Lee Dorsey . . ‘Our Love Is Driftin' we’d have heard by Paul Butterfield. I’d forgotten there was such a large soul component in 1984!".

Dave Dilloway has the technical details: “This tape is the most re­cent, best and most representative of 1984 that I'm aware of. It is mono, but since it was made on good quality TV studio equipment and was carried out along the lines of a proper studio recording, with separately-mixed microphones for each source, it is remarkably good quality for its age. The material, except for ‘Step On Me', is aII cover versions, but as it dates from the late 1984 era, Brian’s playing is more prominent and effective, with his own style starting to show through. All the performances are competent — particularly Tim’s vocals and Brian's guitar; although the mix is a little heavy on John's rhythm guitar for some reason, probably the ‘ear’ of the recording engineer at the time. All tracks were laid down in one take, i.e., no overdubbing at all, so the sound is predominantly simple, as per our live versions."

And that was 1984′s swansong. In the spring of 1968, shortly afler the Thames recording, mainly due to the pressures of infrequent meetings and university studies — coupled with increasing musical differences — 1984 scaled down their operations drastically. Brian May left the band, and Tim Staffell took over on lead guitar for a while. A little later, Tim himself quit, leaving Dave Dilloway, John Garnham and Richard Thompson to rebuild the group, which soldiered on into the 70′s, content merely to play for fun. They all conceded that 1984 had been a good, solid, and popular local band, but that it didn’t have the necessary spark or originality to transform into a great one.

The Left Handed Marriage

ln the summer of 1965, in another corner of Hampton Grammar School, Brian May’s old friend Bill Richards (who had been a fleeting, early member of 1984 before it acquired its futuristic name), and his colleagues Jenny Hill (née Rusbridge), Henry Deval and Terry Goulds, formed a folk-rock band called the Left-Handed Marriage, named after an archaic form of marrying beneath oneself. By January 1967, the quartet had progressed to the point where they had issued their own privately-pressed album, “On The Right Side Of The Left Handed Marriage", which ran to just fifty copies (and, incidentally, has since acquired cult status among collectors, with a £600 price tag to match).

Although naturally familiar with the al­bum, Brian May as yet had not been involved with the band. That changed in March 1967, after Bill signed a twelve-month contract with EMI's music publishing company Ardmore & Beechwood — a deal secured through the efforts of Brian Henderson, a former member of Edinburgh beat outfit the Mark Five, and more recently, the bassist in Patrick Campbell- Lyons' 60′s psychodelic band, Nirvana. Bill approached Brian to help him create a “fuller" sound for the Left Handed Marriage, with a request to provide guitar and backing vocals on some recording sessions.

On the understanding that the project wouldn’t interfere with his commitment to 1984, Brian agreed. On 4th April 1967, he joined Jenny, Henry, Terry and Bill in AMC Sound, an amateur studio in Manor Road, Twickenham, to record four songs: “Give Me Time” (later changed to “I Need Time"), "She Was Once My Friend", “Sugar Lump Girl” and “Yours Sincerely” (which was basically “Give Me Time" backwards, with new lyrics pinched from the Russian author Pushkin).

The songs were all cleanly-recorded, melodic atempts at 1967 pop (despite the Left Handed Marriage's later classification, there's little actual folk music in evidence). “She Was Once My Friend" is the pick of the bunch, thanks to its Kinks-like structure — complete with Bill Richard's/ Ray Davies-soundalike vocal and, albeit way down in the mix, flashes of that distinctive Brian May 'Red Special’ guitar sound. Acetates of the AMC EP were cut, and the idea had been to release the songs as a commercial EP.  Instead, the set merely became the Left Handed Marriage’s first demo for their publishers, although it did lead to the offer to record at a more professional session — at EMI’s prestigious Abbey Road studios.

The Abbey Road session took place on 28th June 1967, when Left Handed Marriage were joined by Brian and 1984′s Dave Dilloway, who was drafted in to play bass. Two further tracks were cut: the reworked “I Need Time",...[ ]

...[ ] and a new song called “Appointment". At this stage, there was more talk of issuing a record, this time a single, and a release date of August was even discussed. This never materialised either, and again 7″ acetates are all that remain.

Although Ardmore & Beechwood were pleased with the results, they still thought the Left Handed Marriage could improve their sound even further, and on 31st July 1967, they booked the band into another studio, this time Regent Sound in central London. As Dave Dilloway was not available, another friend, John Frankel, was called upon to play bass and piano. The eight-track Regent Sound ma­chine was something of a technological marvel, and the session was flawlessly recorded, resulting in new versions of “I Need Time”, “She Was Once My Friend" (which also remixed and edited for the abandoned single), and "Appointment".

Despite the studio quality of the tape, Ardmore & Beechwood failed to place the songs with a record label, and like so many groups before and since, the Left Handed Marriage quietly disappeared from view. It was left to frontman Bill Richards belatedly to issue the fruits of this last session, when in February 1993, he tagged the three Regent Sound recordings — the final mix of “I Need Time”, the abridged version of “She Was Once A Friend Of Mine” and the final mix of “Appointment” — onto the end of “Crazy Chain”, a CD recorded by the reformed Left Handed Marriage, which itself was prompted by collector's interest in the group’s original 1967 LP,  “The Right Hand Side Of...” . Most of the master tapes for the LHM recordings featuring Brian May have Iong since disappeared along with the Regent Sound studio, and (with the exception of "She Was Once My Friend") the Richards/May collaborations on the CD were digitally remastered from acetates.

RECORD COLLECTOR Nº 195, NOVEMBER 1995

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