#freddie mercury lover of life

[freddiemercurylegendabovelegends]

Today - March 25th, 1977 - Queen Story!

'Teo Torriatte' bw 'Good Old Fashioned Lover Boy' released in Japan

Taken from album 'A Day At The Races', 1976

- 'Teo Torriatte' (Let us Cling Together)'

Written by Brian May

🔸“Teo Torriatte (Let Us Cling Together)”, which features a chorus sung in Japanese. The band offered the song for inclusion on the charity album Songs for Japan, a compilation of recordings by international artists put together to support people affected by the Great East Japan Earthquake in March 2011.

👉 The song was originally included on the band’s fifth album, A Day at the Races, released in 1976. It was apparently Mercury himself who had the idea of including Japanese lyrics on the track. When the band came back to Japan for another tour, Tōgō says, “Freddie wrote down the lyrics by hand and asked the woman who was working as their interpreter to translate them into Japanese.”

- Tōgō Kaoruko, music critic and journalist Music Life magazine

➡️ Full article↘https://www.nippon.com/en/japan-topics/g00703/let-us-cling-together-queen%E2%80%99s-special-ties-with-japan.html

(Originally published in Japanese on May 31, 2019. Interview and text by Itakura Kimie of Nippon.com.)

- 'Good Old Fashioned Lover Boy'

Written by Freddie Mercury

🔸Freddie Mercury: "It’s called 'Good Old-Fashioned Lover Boy', and it’s in my ‘ragtime’ mood that I get a chance to, (laughs) to do on every album and this time, this is something I’ve come up with this time around"

Kenny Everett: "Right, a little frilly number from the pen of Fred."

- Mercury interview

November 1976, Kenny Everett Radio Show

📸 Japanese Sleeves

[mydemonsdrivealimo]

i need jensen covering songs ab love and romance. just bc he hates it so much.

[acewithapaintbrush]

A little repost in honor of the one and only.

(funny story, my cat walked over the canvas and instead of painting it over I just left it cause I know Freddie loved cats so it felt fitting)

[kaktohund]

i have had the same song stuck in my head. for a week and a half

[manyrandomfandoms]

No One But You really infiltrated my brain today…

[thavron]

So I think I've cracked this moment.

So this moment has bothered me. I've seen several people say this is Crowley breaking up with Aziraphale, but I think it has a different meaning. I think he's saying, "I understand."

Hear me out.

It was actually listening to the song Good Old Fashioned Lover Boy that caused me to have a little epiphany. I love how it's juxtaposed over Crowley rushing back to Aziraphale, indicating that he is the Good Old Fashioned Lover Boy, but there is more to it.

That song was released in 1976, which is a time when being gay or being queer of any kind was deeply frowned upon. Though laws in the UK banning same sex relationships had been lifted by this time, for consenting adults over the age of 21. Freddie explicitly coming out at this time was something that could have ended his career. Freddie danced with the media on this one, hinted but was never forthright and kept his romantic life largely under wraps. This is something that queer people did in general and had to do well into the 90s. They flirted in code, they romanced behind closed doors. They kept their love out of sight.

Much like our Ineffable Husbands.

Editing to add- that the reason this triggered something for me, is that despite the secrecy, Freddie Mercury got up on stage and sang a song about a man taking another man out on a date at the Ritz. Everyone knew. Just no one knew knew. And it wasn't enough to end his career. Much like our Ineffable Husbands. Everyone knows, including them. Just no one says a thing about it.

Which brings me back to A Nightingale Sang in Berkeley Square.

This song is about one magical night. A couple meet, fall in love, feel the magic of their romance, and then as the sun comes up they go home. It is something like a dream that has to be let go with the harsh light of day. But there is hope, because sometimes they can hear the echo of the nightingale. A promise perhaps to meet again.

So I think it is widely assumed that there is more to the 1941 flashback. I tend to concur. I think we will see the origin of why this song is important to them. I suspect the song is about them. They have one magical night, where they are both brave and express their love for each other. But then the sun comes up and they realise that they have to go back to their lives. I think they will acknowledge that the incident with the zombies was a close call, and they need to cool off and stay away from each other. Slow down.

So 1967 is the first time they have seen each other since. They both know how they feel, they're just waiting for the right time. They shouldn't have met at all, except Aziraphale wants to give Crowley the holy water. I think that explains the awkwardness but also their softness toward each other. It's a meeting of lovers, but the time isn't right just yet. No nightingales are singing. That's what Aziraphale means by "You go too fast for me." Not yet, it's too soon. We're still under suspicion.

So the end of season one, the world is not over and our ineffable husbands are free. What do they do? They go for date at the Ritz. You can not tell me this is not a date. Sorry, don't believe you. "The Ritz is the most romantic hotel in the world." It's like their whole selling point. It's why it pops up in the lyrics of Berkley Square, and also in the lyrics of Good Old Fashioned Lover Boy. It's the place where magic happens. And for me, the playing of the song, and the reference from God herself, it's saying the time is right. They can finally be together again. This is their moment.

So Season Two. I've read reviews of season two where people liken it to fanfiction. Neil calls it is a bridge season. I think it's the dream. Not actually a dream, I don't think Neil is that unoriginal. But in the song they liken that one magical night to a dream. It's a fantasy that they get to live until the sun comes up. They get to live their dream for four years. They are together and they are in love but they are still living in secret. They still don't acknowledge it. They're still holding back. One of the themes in this series is timing is everything. Maggie and Nina's relationship doesn't work because timing. The magic trick worked the time it mattered. Timing is important, and the ineffable husbands are bad at it. They should have thrown themselves into this but they were too cautious and they missed their chance.

I think this conversation is when Crowley realises. Not that he is love with Aziraphale, that was established in 1941. But that everyone knows anyway. There is no reason to hide. No one cares that they're an item. Aziraphale has a similar epiphany after his chat with Shax. So they both decide to move the relationship along, but damn do they have bad timing.

Now I am as confused and heart broken as anyone about the final fifteen. And I am certain that there is something that we are not seeing, a trick that we've missed. There are six minutes unaccounted for. Neil says its a continuity error, but he's demon, he lies.

So here is what I think, and why this line "that's the point, no nightingales" is important. At some point during that conversation Crowley catches on. Whether they have a moment of stopped time, or the fact that Aziraphale is acting so utterly unhinged, there is something that happens that we don't see and it clues him in. He is hurt and angry yes, but he understands. What he is understanding is that the dawn came stealing up, and that the interlude is over. The nightingales stopped singing, and they have to go back to work. He gets it and that's how he lets Aziraphale know.

"You're an idiot, we could have been us." He doesn't like the plan, whatever it is. He thinks running would have been preferable, but he is resigned to it.

Then that kiss. One last goodbye just in case the world ends? Desperate longing and years of pent up frustration? I don't think the trick is here. I think this is misdirection. We're all looking at the kiss, we missed the coded message that came right before. I think "No nightingales" may also suggest that this isn't the kiss. The romantic kiss will come later, when the nightingales sing again. And they will, of that I'm certain now.

The song playing in the car, a message from Aziraphale or from the Bentley reminding him to have hope. Two things we know about Crowley. He is an optimist. He loves to rescue his angel. We also know that he is the trusted stooge with the steady hand. Aziraphale will perform the theatrics, he will do the rest. The fact that he waited and didn't just storm off like he did when he was rejected in series 1 tells Aziraphale that he is still here. He's still in this.

That's my interpretation anyway.

[8thhousekat]

🎀Libra Venus🎀

💌LIBRA VENUSES have a tendency to accidentally flirt haha

💌they tend to have very soft and beautiful features

💌they are in love with the idea of love (kind of like Taurus venus but more airy and romantic)

💌you will know when a libra Venus likes you because they will be more consistent with you

💌they love giving and receiving compliments

💌they could develop crushes very easily (I’ve noticed this a lot more with the men the women have to really feel out a persons energy before they form a crush)

💌they find beauty in everyone even the people society wouldn’t consider conventionally attractive

💌 they can lowkey be haters lol it’s so funny tho

💌can become very passive aggressive at times

💌they don’t tolerate any kind of disrespect towards their loved ones (this can be surprising but they really do stick up for people especially if they have any fire placements)

💌unfortunately tho:( it might take them a lot more to stand up for themselves it’s because they believe everyone deserves a second chance

💌some of them can have a really dark aesthetic or have gone through the darker aesthetic

💌but most libra Venus people I know tend to dress depending on how they feel

💌 they can be flaky😭

💌 their partners become their whole world

💌 they appreciate the little things and they like to make people feel accepted and appreciated

💌 some of them will flirt and ghost but if they really value you they won’t ghost you 🎀🩷 this isn’t because they are bad people it’s because they have a certain thing they are looking for so they will read you early on to see if you’re the one for them

💌 some of them might put up with toxic lovers/friends because they are scared of being alone:(

💌 they may have had an ugly duckling phase in their life but later on glowed tf up

💌very beautiful people I’ve noticed they have amazing eyebrows haha

💌if they like you they will try to always show up to events that you are at if they know you’re there they will show up😭😭😭(not in a stalker way they just wanna be around you)

💌they have a hard time hiding their love for someone

💌they are very supportive people

💌 I’ve noticed that alot of them don’t like eating in front of people or they could find it uncomfortable

💌they have a way of making everyone feel loved

💌attachment or detachment issues no in-between

💌their love language is words of affirmation and quality time 🩷🩷 or gift giving

💌 they can be sassy lol

💌they are also very sweet people

💌 libra Venuses have amazing sense of style

Libra Venus celebrities

-Beyoncé

-Emma Stone

-Will Smith

-Freddy Mercury

-Ryan Gosling

-Shailene Woodley

-Hilary Duff

-John Bernthal

-Jada Pinkett Smith

-Josh Duhamel

Thank you for reading the next Venus sign will be scorpio 🙏🕷️

[hikarry]

I get why you would have Crowley be a guitarist/vocalist. It's a classic in the fandom. But a pianist? I don't really see that instrument fitting him

My reason is one and only one and a very simple one at that: Have you looked at that man's hands?

Anthony J. Crowley was created to play a fucking piano!

As a pianist myself, I would commit cold blooded murder to have long slim fingers like those!

It is a sin I haven't run across a single fanfic - in universe or not - where this guy plays a piano! Look at the way he moves his bloody fingers! Look at how fucking fluid he is!

I will have him sit his ass in front of a piano and fucking serenate Aziraphale every night if I have to, but my musician Crowley will be, regardless of anything else, a pianist god

I understand your scepticism tho

Most musician Crowley AUs have him as a rock star and, by God, so will I, but whoever made the rule that rock stars only sing and play drums or the guitar?

You need no other example but the Queen of Glam Rock himself, Freddie Fucking Mercury. He is one of the biggest rock stars to ever grace this Earth and he could barely play a bloody guitar to save his life, but was a genius at the piano

Don't Stop Me Now. Killer Queen. Somebody To Love. We Are The Champions. Breakthru. Face It Alone. Spread Your Wings. The March of the Black Queen. Good Old-Fashioned Lover Boy.

I could keep going.

Do you know what all of those have in common?

They are all Queen songs, yes. All undeniably rock songs. And their main instrument is what? A piano

I rest my case

[sing-you-fools]

And then you make me slightly mad

When you pee all over my Chippendale suite

you know you want to listen to Delilah

Favorite line of your favorite Queen song go

(can be due to lyrics or just melody or whatever!)

mine is “I’d like for you and I to go romancing, say the word your wish is my command”

[ineffable-rohese]

Neil's picks for Aziraphale & Crowley's Angelic Playlist were Cry Me a River (Julie London), The Book of Love (Peter Gabriel), and The Show Must Go On (Queen).

Three songs. Two about the aftermath of a break up, and one about coming together in love. So very clearly, we can infer a Crowley POV song, an Aziraphale POV song, and a song for the two of them and their happily ever after. (Song lyrics for all three after the cut for reference.)

The Book of Love is a perfect wedding song. It's a song to play under two people declaring their desire to spend eternity together. With lines about dancing and reading and it's perfect. It's originally a Magnetic Fields song that was released in 1999. Peter Gabriel recorded a cover in 2004 for the movie Shall We Dance about which I know nothing but the Wikipedia summary. But since we know how movies are important here... It's a standard rom-com with a bored Richard Gere secretly taking up ballroom dancing after following a pretty lady from the train (J-Lo). His wife (Susan Sarandon) thinks he's cheating, turns out nope, just dancing, drama ensues, he gives up dancing but eventually his wife becomes supportive and he realizes he loves his wife. And dancing. And they live happily ever after, with both of them getting what they want. Maybe we can draw some parallels here? But I think the song speaks for itself better than its connection with what sounds like a standard early 2000s romcom.

The individual songs are where it gets interesting.

Cry Me a River was first released by Julie London in 1951, but became popular after she sang it in the 1956 film The Girl Can't Help It starring Jayne Mansfield as an aspiring rock 'n roll singer. Again, relying on Wikipedia here, but there is an interesting bit about a blossoming forbidden relationship, wiretapped phones, and someone editing the recordings to keep the love affair secret. But again, it's probably a stretch to look too deeply into the movie.

The song has a very classic jazz feel. It's from a decade and a half later, but if you were, say, an angel who enjoyed Moonlight Serenade or A Nightingale Sang in Berkley Square, it has a similar feel. You definitely wouldn't say it's bebop. The lyrics are about someone who was in love and had their heartbroken. Their former love (who never shed a tear over the break up) has returned and wants to make up. The singer essentially says "you love me? Prove it. Cry me a river like I cried when you left." Which, fair, but in our context, ouch.

The Show Must Go On is a Queen song, and we know how much Queen we hear in association with Crowley in particular. But this just isn't any Queen song. It was written by Brian May about Freddie Mercury's struggles as he neared the end of his life, and it was recorded in 1990. (Coincidentally or not, the year Good Omens was published, a book co-created by friends, one of whom would die too soon, and the other of whom would reflect on his friend's end of life struggles as the story was told more fully. Yes, I'm crying about this.)

In the song, the singer is fighting to reach a place of freedom, away from empty spaces and heartbreak. They are fighting with pure will, and even though their heart is breaking they smile and carry on because the show must go on.

What I really appreciate here with the POV songs, is that they are cross-coded. Queen is Crowley-coded, but the song about someone fighting through heartbreak to achieve something vital, while forcing a smile for the audience? That's absolutely Aziraphale in Heaven. And the 40s/50s jazz ballad is absolutely Aziraphale's style, but the jilted lover who may be willing to give their love a second chance but needs to see proof that the lover cares as much as they do is Crowley all the way.

It's almost like... Well it's almost like even in their separation, they are each carrying a piece of the other. The book of love has music in it, indeed.

The Book of Love

The book of love is long and boring No one can lift the damn thing It's full of charts and facts, and figures And instructions for dancing But I I love it when you read to me. And you You can read me anything.

The book of love has music in it In fact that's where music comes from Some of it's just transcendental Some of it's just really dumb But I I love it when you sing to me And you You can sing me anything

The book of love is long and boring And written very long ago It's full of flowers and heart-shaped boxes And things we're all too young to know But I I love it when you give me things And you You ought to give me wedding rings

Cry Me a River

Now you say you're lonely You cry the whole night thorough Well, you can cry me a river, cry me a river I cried a river over you

Now you say you're sorry For bein' so untrue Well, you can cry me a river, cry me a river I cried a river over you

You drove me, nearly drove me out of my head While you never shed a tear Remember, I remember all that you said Told me love was too plebeian Told me you were through with me and

Now you say you love me Well, just to prove you do Come on and cry me a river, cry me a river I cried a river over you

The Show Must Go On

Empty spaces, what are we living for? Abandoned places, I guess we know the score, on and on Does anybody know what we are looking for?

Another hero, another mindless crime Behind the curtain, in the pantomime Hold the line Does anybody want to take it anymore?

The show must go on The show must go on, yeah Inside my heart is breaking My makeup may be flaking But my smile, still, stays on

Whatever happens, I'll leave it all to chance Another heartache, another failed romance, on and on Does anybody know what we are living for? I guess I'm learning I must be warmer now I'll soon be turning, round the corner now Outside the dawn is breaking But inside in the dark I'm aching to be free

The show must go on The show must go on Inside my heart is breaking My makeup may be flaking But my smile, still, stays on

My soul is painted like the wings of butterflies Fairy tales of yesterday, grow but never die I can fly, my friends

The show must go on The show must go on I'll face it with a grin I'm never giving in On with the show I'll top the bill I'll overkill I have to find the will to carry on On with the show Show Show must go on, go on, go on, go on, go on, go on, go on, go on

[thewomanwhoboughttheworld]

I reckon it is widely accepted that Crowley and Freddie Mercury were, at the very least, besties, sometimes lovers, sometimes had a fling or dated. But I have feelings and headcanons nobody asked for that I have to share.

They met while Freddie was still in college. Freddie saw Crowley, drew a quick sketch of him and got up and gave it to Crowley. "I promise I will draw you a better one, dear." He never did, but Crowley still keeps the drawing and miracled it to always look like just made.

Crowley never really liked Mary Austin. He didn't like her when she was Freddie's girlfriend and always found a way to inconvenience her. He still doesn't like her, especially after she put Freddie's belongings up for auction. He liked Jim Hutton, however.

Freddie kissed Crowley first. It was after a rehearsal of one of Freddie's early bands, Crowley was giving him his feedback. Freddie just leaned in and kissed him. He avoided the demon for the following two weeks as he was confused (he still hadn't realised he liked boys) and felt embarrassed.

Even though they were both adamant that there were no feelings involved, they both deeply cared for each other. Neither would admit it, saying they were only friends who (more than) occasionally hooked up, but they both knew there was more. However, Freddie fell a bit harder even though he knew Crowley wasn't in love with him. It did hurt a bit, but he was eventually fine with it.

Freddie actually knew about Crowley and Aziraphale being a demon and an angel. Crowley told him one night while they were both drunk and then Freddie remembered and asked him. Crowley tried to deny it, but Freddie insisted so much that in the end, he decided to tell him everything as he knew Freddie wouldn't tell anybody. And he never did, he treated this like his own secret.

The first time Freddie saw Crowley's eyes, Crowley thought he would be scared. But Freddie just said: "I know they're snake eyes, but they remind me of my cats. And what a lovely colour, darling. Yellow's my favourite, you know?".

Crowley ranted A LOT about Aziraphale to Freddie. He was always going on about how much he hated his being a goody-two-shoes, how infuriating his constant reminding him that he was actually a good person and how the fuck can 6000 years be too fast? Freddie just smiled because he knew. He could see how much Crowley loved that angel. It broke his own heart, because he knew he could never be loved that much, but never said a word.

Freddie did write a lot of songs about Crowley and Aziraphale. Obviously Good Old Fashioned Lover Boy, but also Crazy Little Thing Called Love, Somebody to Love and many more. Spread Your Wings is specifically about Crowley and he knew. But what Freddie would never tell anyone, a secret that he brought to the tomb with him, is that he wrote Love of My Life and You Take my Breath Away for him. (told you that Freddie was in love, my poor baby suffered too much in his life).

Freddie taught Crowley how to play the piano.

Crowley auctioned for some of Freddie's belongings. He got some kimonos, some handwritten sheets and his piano. He couldn't let anyone else have it.

Crowley never really left Freddie's side. He was always that mysterious, dark and handsome man showing up especially when Freddie needed someone. People eventually accepted it as part of Freddie's charm as he was always so secretive about his personal life.

Freddie let himself be vulnerable only around Crowley. Just as Crowley took off his glasses with him, Freddie allowed himself to cry only those times in which they were alone. He cried in Crowley's arms so much when his illness was worsening, when he was scared of how much he would have suffered. One night it got so bad that Freddie was basically begging Crowley to end his suffering and Crowley had to perform a miracle so that he could sleep. Neither brought it up ever again.

When Freddie died, Crowley was there with him. He gave Freddie just enough life to allow him to say some words. "You promised me you wouldn't come," Freddie told him. "I'm a demon, I lied" replied Crowley with a broken voice. He then sat on the bed and stayed with him until the very last moment. Aziraphale was there too. He followed Crowley without telling him because he felt he needed him. Aziraphale took away Freddie's suffering so that he could go without pain.

That same night, Aziraphale tried to persuade Crowley to stay at his library because he thought Crowley needed a friend. Crowley refused, hopped on his Bentley and drove away. He parked in front of his apartment building and found a used packet of cigarettes and an old pair of sunglasses that belonged to Freddie in his car. As the radio passed Love of my life, he couldn't hold it anymore and burst into tears. He cried hard, really hard. He felt a familiar hand on his back but didn't look and didn't ask. Aziraphale never said anything either and didn't leave until Crowley stopped crying but before he could be seen. He remembered how much it hurt and didn't want Crowley to grieve alone.

Master post: here

[freddiemercurylegendabovelegends]

July 19th, 1985 - Queen Story!

The Sun - I AM THE CHAMPION

Why Fantastic Freddie Stole Live Aid Show

(Boogie time for winners) by Nick Ferrari

Rock fans have been saying for years that Freddie Mercury is the world’s greatest.

Now the world knows how right they are–because Freddie and his band, Queen, stole the honours at the star-studded Live Aid concert.

His blistering show, with its haunting finale, left all the other pop greats standing.

Freddie, a very energetic 38, cannot resist giving it all he’s got once he is on stage.

He says: “I have to win people over, otherwise it’s not a successful gig. It’s my job to make sure people have a good time. That’s part of my duty. It’s all to do with feeling in control. That song We Are The Champions has been taken up by football fans because it’s a winners’ song.

“I can’t believe that somebody hasn’t written a new song to overtake it.”

In a revealing interview Freddie talks freely and frankly about his superstar friends, his astonishing song writing output and his sad love life.

_Shock_

His composing has brought him into constant with Elton John, Rod Stewart — and the reclusive Michael Jackson.

He says: “I recorded about two or three tracks with Michael, but none of them are out at the moment.”

It was Freddie who started recording State of Shock with Jackson, but he did not have time to finish it. Mick Jagger stepped in–and they had a hit.

A Mercury-Jackson duo was also planned for the smash-hit Thriller album, but that did not come off, either.

Not that Freddie worries over such set-backs. His recording career did very nicely, thank you, when he released his solo album _Mr Bad Guy_

“I was pleased with it,” he says. “I was also pleased with my voice. I like it husky. It’s all the smoking. That’s why I smoke — to get that husky voice.”

So how did he reach the high notes? “I used the Demis Roussos method,” he says. “You get a pair of pliers under the frock and go crunch!”

One of the tracks on Freddie’s new album is entitled Love Is Dangerous. Is that his view? He says: “I can be a good lover, but I think after all these years I’m not a very good partner for anybody. Maybe my love is dangerous, but who wants their love to be safe?”

_Tragic_

“I’m possessed by love–but isn’t everybody? Most of my songs are love ballads and things to do with sadness and torture and pain.

“In terms of love, you’re not in control and I hate that feeling. I seem to write a lot of sad songs because I’m a very tragic person. But there’s always an element of humour at the end.”

But for all his fame and adulation, Freddie remains a lonely man.

He says: “The album track Living on My Own is very me. I have to go round the world living in hotels. You can have a whole shoal of people you know looking after you. But in the end they all go away. But I’m not complaining. I’m living on my own and having a boogie time.”

And this man, with millions of fans all over the world admits he has few friends.

Freddie says: “When you’re a celebrity, it’s hard to approach somebody and say: ‘Look, I’m normal underneath.’ Then what happens is the tread all over me because by trying to be normal to somebody, suddenly I’ve come out of my shell and become far more vulnerable than most people.”

_Fun_

“Because I’m successful and have a lot of money, a lot of greedy people prey on me. But that’s something I’ve learned to deal with.

“I’m riddled with scars and I just don’t want any more.”

Instead Freddie turns to his fans to feel wanted again. He said: “I find even when people have let you down, you just want to go on stage. It’s very gratifying to know that all sorts of people want you.”

Freddie has also learned how to enjoy his fame. He says: “I was caught up in being a star and I thought “This is the way a star behaves. Now I don’t give a damn. I want to do things my way and have fun.”

“If all my money ended tomorrow, I’d still go about like I had lots of money because that’s what I used to do before. I’ll always walk round like a Persian Poppinjay and no one’s gonna stop me.”

“I love living life to the full — that’s my nature. Nobody tells me what to do.”

TEARS TURN ME ON

Freddie is a great admirer of modern band and current music in spite of his years in the business. He says: “I like Tears For Fears, Wham!, and Culture Club– they’re all very good. But Tears For Fears are among my favourites because they’re writing music I cam really relate to.”

_Dream_

“They’ve got a lot of rhythm and at the same time they’ve got a lot of aggression. They also have very good songs. But I love the Queen of Soul, Aretha Franklin, above all other singers. She must have one of the best voices ever. She sings like a dream. I wish I could sing half as well as she does. It’s so natural.

“She puts her whole emotion into it. Each word she sings is full of meaning and expression. I could listen to it forever.”

Freddie also reveals his deep love of opera. He says: “Montserrat Cabelle is sensational. She has that same kind of emotion as Aretha Franklin. The way she delivers a song is so very natural. It’s a very different gift.”

But Freddie’s favourite band remains Queen who have been toether now for 13 years.

And he strongly denies making a solo album has threatened the future of one of the world’s greatest rock bands. Freddie says: “It’s probably brought us closer together and will enhance our careers.”

_Closer_

“It’s like painting a picture. You have to step away from it to see what it’s like. I’m stepping away from Queen and I think it’s going to give everybody a shot in the arm.

“But I’ll be working with Queen again. No doubt about that. Queen are gonna come back even bigger.”

(➡️ source: http://queenarchives.com/qa/07-19-1985-the-sun/)

📸 Pic: July 13, 1985, Wembley Stadium, London, UK

'Live Aid'

[catre33]

love languages

Crowley and Aziraphale each have their own specific language for each other. Their own specific love languages, specifically for each other.

They both have a general love language, of course.

Aziraphale's is hard to discern. Gestures are a great part of it, I believe. Angelic nature = acts of service. But he is really just reclused. An ambivert, I believe you could say. He will socialise if he really truly needs to, and he keeps up the appearance of being perfectly amiable. But, he really just has Crowley and his books. I think that's one of the reasons books are such a large part of his personality. Throughout centuries people and civilizations rise and fall. Perhaps he got too attached in early years to mortals he didn't realise would pass on too soon. But books will never betray or leave you in unpredictable ways. Their stories are always there. The only one who has also been there the entire time has been Crowley. These two are the only immortals for each other. And that's also why quality time is quite a large part of Azi's general love language. Spending as much time with someone as possible because you never know when you'll lose them, especially if they're mortal.

The ambivert/recluse perspective really relates to both of them at this point. I can see Crowley having much more of a social life than Aziraphale, but only really on the surface. Practically platonic flings. As per the usual, he has realised the truth early on, that he can't get too attached to anyone. So he'll make friends, he'll spend time with random people; get wasted at clubs, become quick besties with Freddie Mercury, Hozier, Shakespeare, anyone who'll let him rant drunk. But he would never really delve deep into any sort of relationship. Only his angel.

They're the only people, or people-shaped beings, the other could rely on this entire time, through fights and Ragna-right-okay-neverminds, through everything. (until recently ;-;)

Their personal languages for each other are also much more than loosely based upon their ideas of love, and the sheer humanity of it.

Crowley's idea of love is desperate, intense, and intimate (not just physically). A burst of feeling in a tumultous atmosphere, followed by pure expression of adoration for each other. A slow burn and enormous supernova of love. A galaxy of devotion to each other. Which also directly relates to the (supposed) moment he fell in love. Love at first fricking sight. Looking into each others' eyes and realising you were made for each other. An explosion of feeling. He shows his love for Aziraphale in these ways. Desperate rescues and speeches. Very cinematographic ideals, he has.

Aziraphale- oh ho. This true good old-fasioned lover boy. Jane Austen, Cotillion Balls, a slow dance with your love. Gentle, caring, heart-wrenching. A sudden realisation. Very, very sudden, everything. His idea of love is of discovery. But it is also very vague. I feel he is terrified to pursue anything. The terror on his face of implications, realisations that he is knee-deep in the roller coaster of love. He probably never considered any of this until the 18th or 19th century, with his new favorite novels. It is all so very new and scary and sudden to him.

[zvtara-was-never-canon]

Kataang is a ship that dared to be different. Not sure why people think Kataang is a sexist ship when Katara and Aang both protect and support each other and neither is the damsel and the hero in the relationship.

And yet people think ZK is better than the average M/F ship when the reason why ZK is so damn popular is because of annoying overdone hetero-normalic tropes. To the point where people think Zuko taking a hit for Katara is romantic coded (and apparently me and my peers are """delusional""" for not seeing it as romantic coded) and that ZK fanfics are such romantic fantasies of Zuko saving Katara and Katara being such a meek little girlfriend for the badass chad fanon!Zuko. (As if the ZK fanbase is aware that Zuko and Katara are both pure yang energy and they have to make Katara meek to make the ZK ship work.)

I mean yes I am annoyed Z/tara is as popular as it is but Kataang is canon and ZK is dipping in popularity and it feels like the bulk of the ZK fanbase is just annoying ass middle aged women who get pissy at a kids show for not being the adult show they want...

Just food for thought...Especially considering ZK shippers act immature trying to 1-up people by saying their ship is popular (I mean, are they unaware Zukka topped Z/tara?) And again, popular doesn't automatically mean good...Especially since Z/tara is only popular because it hits all those hetero-normalic beats that people adore so much.

Guys, come on, let's be serious here. I LOVE kataang, with all my heart, BUT best friends to lovers is as cliche as enemies to lovers, main guy dates main girl is as cliche as hero falls in love with the villain who changes side. To quote my best friend @dragomer "A knife is cliche. It's still what you use to cut shit with."

The problem with Zutara fans is not the they prefer the more "traditional" romance, or that it's cliche, or that it's smutty, or that they sometimes make it a toxic dynamic, or that it's not a "progressive" ship. The problem is they feel entitled to push their preference as the only correct one - it's the same issue that made the fandom for Zukka, an actual non hetero ship, so hated by everyone else. No one likes the people that think only they are allowed to have fun with fanon. No one likes the people that expects them to disregard canon for the sake of their prefered fanon.

And speaking as a bisexual woman: we gotta stop with this nonsense of labeling straight ships "non-hetero normalic" for basic shit (and the reverse of it, the "hetero-normalic gay ship" that is literally just the age old homophobic question of "But which one of you is the woman?" with woke language attached to it). It doesn't matter if Kataang is "heteronormative" or not, because:

1 - All that matters in fiction is if something is WELL WRITTEN AND ENTERTAINING, not if it's progressive or more on the traditional side, if it's cliche or "subverting expectations".

2 - What media you find entertaining has nothing to do with your politic views and real-life sexual preferences. Liking one of H.P. Lovecraft's stories doesn't make you a racist, disliking Freddie Mercury doesn't mean you're homophobic (though it does mean you have shit taste in music), liking the most traditional straight romance ever doesn't mean you're straight yourself.

3 - In the case of Avatar in particular, lets be fucking real: no way two straight writers back in 2005, while working on a kids show in a network that had a long history of banning episodes of shows that tried to hint or full on talk about homosexuality, were thinking "How do we make this straight ship less 'hetero-normalic'?" They were just writting whatever felt right for the characters and story - that's why Avatar, while flawed and a product of it's time, aged WAY better than many shows of the time that had "be progressive" as the goal, it avoided forced narrative choices that were only made to beat the audience over the head with the moral lesson of the day.

[batchilla]

I bad at remembering what what is

May I have a scoop of Dick Grayson with focus on civilian pretty please you amazing creature you?

I would love to get a lick of that!

One scoop of cookie monster in a sprinkle cone with sprinkles with a wafer. Holy cavities Batman.

- Good old fashioned lover boy by queen is such a Dick Grayson coded song. It’s about him. The ghost of Freddie Mercury told me.

- did you have a legal name? Not anymore. Nicknames. Sooo many nicknames. Pretty boy/girl. Sweetie pie. Sugar. Baby. Beautiful. Light of my life.

- if you call him HIS full legal name? 🥺🥲do you not Love Him Anymore?! Acting like a kicked puppy till you smooch it better.

- his life is so chaotic so his favourite moments with you are quiet and domestic. Brushing your teeth together? He’s holding your free hand. Do you have a boyfriend or a magnet? You aren’t sure.

[fanellifest]

Who Was Joe Fanelli? Pt. 2

Relationship With Freddie

This is where we start to enter speculation territory, as there isn’t more information readily available (at least that I’ve found through doing research) on the specific start and end dates of Joe and Freddie’s relationship.

Queen played a show in Boston, Massachusetts on November 13, 1978 as part of their Jazz 1978 Tour, followed by a show in Providence, Rhode Island on November 14, and then two shows in New York City on November 16 and 17. It’s not unreasonable to believe that Freddie might have met Joe around this time.

There is photo documentation showing that Joe was with Freddie at Queen’s March 1, 1979 show in Paris, France and in Japan (show dates ranging from April 13 through May 6) as part of their Live Killers Tour of Europe.

Their relationship ended certainly before November of 1979 as Peter Freestone began his employment with Queen at this time, and in his second book written in collaboration with David Evans (published 2003), Peter says the following:

I had heard of Joe Fanelli before I actually met him. He had been spoken of by the band, Freddie and their friends when I started working for Queen in 1979. The impression I received of him was that of an American, small-town country boy who had become caught up in Freddie’s whirlwind. Freddie preferred to find a ‘clean slate’ as far as material for relationships was concerned and then to imprint his own stamp on them. From what I gather, Joe had not been able to cope with all the pressures unintentionally put upon him by the process of being ‘imprinted.’ He had walked out of Freddie’s house and their relationship but not from Freddie’s life because Freddie had taken it upon himself to guarantee the conditions for Joe’s alien residency in England. (Freestone, pg. 48-49)

Due to the pressure of having to hide their relationship from the public eye—in a lifestyle of fame that provides little to no respite from being perceived publicly—and having to keep up with said famous lifestyle, Joe did develop a heavy drinking habit. This possibly contributed to their relationship’s end, as Joe did achieve sobriety after he and Freddie separated.

The story of their breakup is further corroborated by (less than reliable when it comes to Queen history and timelines) David Minns, in his book written in collaboration with David Evans.

David Minns—Freddie’s first boyfriend, with whom he cheated on Mary—was receiving similar treatment and being cheated on by Freddie with Joe. Freddie was bold enough to have them interact at times.

All photos included in This Was The Real Life, courtesy of David Minns. Photo 1 Caption: Cherry Brown, David Minns, Freddie and how weird for Joe Fanelli Photo 2 Caption: David Minns, Freddie Mercury, Joe Fanelli, Peter Straker. 'The night Freddie and I broke up.' Photo 3 Caption: Freddie, Peter Straker, Mike Allison, Wendy Allison, Joe Fanelli

According to David, “Freddie had decided that he had found a new lover and that the young man, Joe Fanelli, would be moving in with Freddie at his new flat in Stafford Terrace.” Some time after this, David received a phone call from Freddie “seeking solace. Freddie confessed that Joe had flown back to New York and taken money and belongings from Stafford Terrace.”

(Several sources date Freddie moving into Stafford Terrace in 1976, and as previously stated, please keep in mind that David Minns’ recounting of the timeline of events is questionable.)

If David is to be believed, at some point after this, Joe returned to England and continued to live and work in London after Freddie had originally moved him there in 1978.

Freddie and Joe reconnected in 1983 for Freddie’s thirty-seventh birthday celebration hosted in Los Angeles, California. According to Peter Freestone in his first book in collaboration with David Evans (published 1998), Peter writes:

Freddie wanted Joe Fanelli to cook for the party and Joe duly arrived from London. The occasion marked the rapprochement between Freddie and Joe who had been working independently as a chef in several London restaurants including September’s in Fulham Road since the break-up of their relationship. (Freestone, pg. 90)

Joe would later be employed full-time and move into Garden Lodge in 1985.