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[debdarkpetal]

BOYS’ PRANKS.

Germany gets a good name check today, but now it's our second home, good old Munich. A hell of a lot of misbehaving went on at Musicland Studios, the Sugar Shack, the Munich Hilton and just about everywhere else we set foot.

After a heavy days recording a few hours of relaxation was needed in the Shack, with a few bottles of Stolli [Stolichnaya vodka]. After there we went back to either Freddie and Phoebe’s suite, the PPP (Presidential poof parlour) or Roger's and my suite, the HH (Hetero Hangout).

It was winter and about 4am and we're all back in the HH goofing around, when we found one of those little jam's that you get with hotel breakfasts. It's usually this time of the morning after a few slurps that we would get inventive, and JD [John Deacon] and me went into Roger’s bedroom and put a dollop of jam on the earpiece of his phone, and another dollop on the bulb of his bedside lamp. I then used another phone and booked him a wake-up call for 6am, and we all cleared off.

The next morning we all had a good laugh when he was telling us how when his phone rang, he switched on the lamp, and the jam got hot and burnt, and the room stank, and when he answered his wake-up call, his hair stuck to his ear. He did take it in good humour, but was not that impressed when he found his awful green shoes in the toilet that we tried to flush away.

The following day we thought it was so good it had to be repeated. So after another night in the Shack, when we get back to the hotel Roger says he's going straight to bed, and off he goes. We get another pot of jam, different flavour though, and make our way to Roger’s bedroom door. Ratty and Jobby lean against the wall so he can't see them through the peephole, and I knock.

"Who is it" he bellows. I reply "It's me, you left your coat in the car, I've bought it up for you." Lame excuse but it worked, the door opens and we're in. A few dollops in the correct places and out the door.

As we're heading to my door for a nightcap we notice a rather large roll of carpet. The inventors are at it again and we drag the roll of carpet down the corridor and lean it against Paul Prenter’s door, then head back for that well earned drink.

An hour or so later I dial 9, or was it O, and get an outside line and ring the Hilton. When the operator answered I told her who it was and could she phone Prenter urgently and tell him that Roger Taylor had been arrested for drink driving and to get to the cop shop and bail him out.

Over breakfast the next morning when the previous day’s stories were told, Paul said he thought it might of been a hoax call, so before rushing out he phoned Roger to check if he was in his room. Thanks Paul, smelly room and jammy ear. Phase two also worked 'cause when he opened his door in the morning the carpet roll fell on his head.

That's it, catch you all soon.

Crystal Taylor.

📷 from l to r: Freddie, Gerry Stickells, John, Roger and Crystal in Munich, August 1984.

[sammyspreadyourwings]

"Roger calms down from a fit when Brian wanders on stage-Freddie on time?????" HOLY SHIT?! THE POWER OF LOVE INDEED. XDDDDDDDD Wanna know what are the circumstances for these two! What happened?! ;)

One of their newer techs changed the cord layout around his drums, which is making him trip whenever he stands to get a drink or practice moving to the front of the stage during the songs he sings. And he’s also hungover, so he is very grump and he just kind of snaps. He tears into the tech and then the other techs, before eventually, it all becomes Crystal’s fault (who is like “let me know when you want to talk like an adult)

but Brian happens to wander in from wherever it was he went with Jobby and sees Roger upset. This makes Brian want to help and as he gets nearer, Roger lowers his screaming (because it’s a little embarrassing that Bri is seeing him fly off the handle like that) but doesn’t fully settle until Brian is hugging him because Brian hugs are the best.

And the other time is when they were recording, and Brian manages to get a long weekend from his study abroad and he surprises them by meeting them at the studio. But because Jim Beach knows the boys, he knows they’re going to be practically useless when they see Brian, so he spills the arrival to Freddie the day of.

Which he wants to see his Brian! and hurries to the studio at the same time, even rushing John and Roger who are like ???? “Freddie got abducted by aliens.

[scificheergirl]

When last we spoke, I still had a month and a half of projects and events to enjoy. Well, I’ve enjoyed them, and now I’m done. Just done. I mean, my table is holding four WIPs, two of three dressforms are wearing half-constructed garments, there’s a commission pending in my inbox, and I have a pile of fleece waiting to become sleeved blankets for the kids, but I’m, like, not required to wear a costume until March…except for the 20s NYE party in two weeks…le sigh.

Somewhere in this hoard is a one-hour dress waiting to be made.

According to my calendar, November was spent in my home, making my introvert self happy. This Costume Fairy was hard at work cleaning and mending costumes for storage (#whoevenami) and rearranging the house to setup the basement workshop. The plan is to dedicate the upstairs studio to fabric only and to keep foam, printing, and duct-taping relegated to basement. That’s also where 20 years of costumes currently reside, so my tools are in good company. During the Thanksgiving holiday sales, I supported a few of my favorite small businesses, firming up cos-plans for 2020. Then, I cringed at my list, which is getting out of hand and will definitely spill into 2021. 

Dames a la Mode, Redthreaded, In The Long Run Designs, and American Duchess–Ariel and Mercury are officially WIPs

Before I splurged on footwear, food, and fancy jewels, however, I whipped up an original superhero for my 9-to-5’s Spirit Day, but that was pretty much it for quick builds. That’s probably a record for me. For a Dickens themed holiday party, I went to my closet and gave a 1950s reminiscent dress some 1840s styling. This past weekend, the Oddity Prodigy Productions crew wrapped our final convention of the year, Ocean City Comic Con, where I happily upgraded and wore my 16th century Batgirl. Yes, Team, I wore an existing costume. I know, calm down. I’m proud of me too. 

  Nite Lite

Black as my holiday heart

Red hair upgrade!

  As for my 2019 review, 18th century Storm really set the tone for the rest of the year, which was filled with renewed energy and pride in my hobby. I did more hand stitching than I have in ages, returning to my pseudo-historical costuming roots. Documentation was much better thanks to a spiffy new camera phone, and by investing in some online learning, I feel more focused and contented in taking my time to achieve a higher quality of work…or whatever. I completed two of the four projects that I’d mapped out at this time last year, started mock-ups for a third, and ordered fabric samples for the fourth. In the interest of honesty, I absolutely did an insane number of last minute pieces, but con crunch was filled with more sleep this time around and only one ensemble makes me cringe.

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It’s my Lady Ghostbuster. She knows what she did. She’ll be ready for next season.

For 2020, I’m continuing with Orko for the Masters of the Universe group that will debut at The Great Philadelphia Comic Con on April 4. I’m currently in the garment construction phase; props and millinery have been patterned, but are going to require a couple of weekends of dedicated toiling to come together. Soon after, I’ll be working on an OPP project that has been long planned, but only recently realized. That will require many mock-ups and loads of happy thoughts. Once things calm down (HAHAHAHAHAHA), I can work on Medieval Link and a few other items in “The List”. My 1780s Princess Allura is either going to be a last minute kit for GPCC or she’ll show up for a photoshoot. In the words of Noelle from Costuming Drama, that bit of pre-planning is “unclear.”

Allura’s 18th century space rump

Exciting me further for the coming season of making, I’m itching to dive into some highly anticipated books including “The Art of Extreme Wig Styling” (already on my tablet), “Centaur of Attention” (my alitaur will bring all the hooves to the field), “The Typical Tudor”, and “The Victorian Dressmaker 2: Sport and Outdoor Wear”. Mind you, I still have “The American Duchess Guide to 18th Century Beauty” burning a hole in my shelf because I haven’t ordered my materials yet. I’ll get there. 

And where do I plan to wear these fancy, schmancy, olde tyme creations, you may ask. Already engraved on the calendar is Great Philly in March, BlerdCon in July, and Tudor Con in October. Sprinkle in some ren faire visits, fun local faves like Free Comic Book Day, Dover Comic Con, and the slightly less local Baltimore Comic Con, and we have a well-rounded event list. I was almost ready to pull that travel trigger and sign up for Costume College, but I do have to space my jobby-job time off judiciously. Ideally, I’d like to add one new-to-me con and one historical workshop to the schedule. We’ll roll the dice and see if I can avoid a critical hit on my wallet.

This is 39 ❤

I believe that’s it until next month. This was a fantastic year for costumes, and I appreciate every one of you that took a peek at my journey. Thanks for your cheers, Team!

Look How Far We’ve Come When last we spoke, I still had a month and a half of projects and events to enjoy.

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[natromanxoff]

Queen live at Cumberland County Civic Centre in Portland ME, USA - November 11, 1977

Not only this was the only concert where Sleeping On The Sidewalk was played (although we still have no idea if it was sung by Brian or Freddie) but something else happened as an eyewitness says: "It was the very first time Freddie had the crowd singing to Love Of My Life. I KNOW the crowd I was in that night were singing it at he top of our lungs and I DO remember Freddie looking at us in amazement that we knew all the words and were VERY loud about it."

(x)

Queen have revamped their show quite a bit for this tour promoting their new album, News Of The World. This is the first tour for which they don't bring a support act - their show is longer, running at roughly two hours a night. Visually, they now have a scaled down version of the Earls Court crown as their lighting rig, which was built in Boston.

The album was a return to basics for Queen, as most of the tracks saw very few overdubs. As a result, most of the songs translated well to the stage, and very quickly. We Will Rock You, We Are The Champions, Sheer Heart Attack, Spread Your Wings, Get Down Make Love, and My Melancholy Blues are all heard on this tour, and are most likely performed for the first time tonight. I'm In Love With My Car and Love Of My Life from A Night At The Opera are also heard live for the first time at this show. Roger sings the former as he did on the album.

In a radio interview earlier in the year, he had this to say about singing lead in concert from behind the drums: "In the context of Queen it's not an easy thing to do. I sing a lot from the drums, but to sing lead on stage, the vocalist should be focal point in concert. For the drummer to sing, I think the whole thing loses a lot somehow." Still, they gave I'm In Love With My Car a try, and it would be played nearly every night through 1981. It would never be performed completely. After the "Cars don't talk back; they're just four-wheeled friends now" line, the band would slightly extend the instrumental section of the song before coming to an abrupt end.

Sleeping On The Sidewalk, however, wouldn't fare so well. They played Brian's bluesy News Of The World number early on the tour, with Freddie on the lead vocal, but it was soon dropped after only three performances.

On this tour the show would begin with a tape of the stomp-stomp-clap of the studio version of We Will Rock You being played. A spotlight would appear on Freddie on one side of the stage where he would sing only the first verse and a chorus (with vocals from the record also being heard), after which another spotlight would be on Brian for the climatic guitar solo. They would then leave the stage amidst dry ice to perform a faster, more straight-ahead rock version of the song. This fast version of the song would prove to be a very effective concert opener, and would be played at most shows from now through the end of 1982.

Death On Two Legs has been cut down, and segues into Killer Queen as part of a much longer medley. Good Old Fashioned Lover Boy follows, as it did earlier in the year.

Get Down Make Love would always be performed with the second verse and chorus omitted. The middle section would never be performed the same way twice, featuring Brian May on the E-bow along with a harmonizer pedal, and vocal gymnastics from Freddie, creating new sounds and treading new ground every night. The Millionaire Waltz and You're My Best Friend close the medley through May of next year.

Spread Your Wings would be performed on this tour with a much more aggressive beat by Roger (in double time) during the improv at the end of the song, like the BBC version recorded on October 28. This song, along with It's Late, would rotate in the setlist in autumn 1977, but they would be heard every night in 1978 and in much of 1979.

Love Of My Life would be performed very differently on stage than on the record, with Brian on guitar instead of Freddie on piano, performed a key and a half lower. Over the years it would develop into a number where audiences of all sizes would sing along, as heard on the various live albums and videos. Although few US audiences sang along with the song, a fan who attended this show fondly recalls Freddie's surprise when some audience members were singing along (thanks to Cameron Myers for confirming). By 1979, singalongs and vocal duels between Freddie and the audience became staples of Queen's live set.

Like the A Day At The Races tour, the segment of The Prophet's Song after White Man is a vocal solo by Freddie, but on this tour it leads into a guitar solo. Brian May's solo spots during this period were his most experimental, as he created many unique sounds every night. Unlike every other tour, he was tuned to drop-D (for the segment of The Prophet's Song to come), which was at least partially responsible for making room for that creativity.

On this tour Brian used his E-bow for the first segment of his solo spot. He recalled in 2004: "It was very useful for starting off my long solo at one point. I could make long Whale-like noises by gently moving the device up to a position over a low string. Along with use of the Tremolo to zoom the pitch way down, and the delays I was using at the time, it gave a lot of scope for building up weird textures. I really enjoyed it if the mood was developing well that night. Usually at some point after a couple of minutes I would lob the E-bow in Jobby's direction, and lay into the guitar with a pick instead, going into more rhythmic areas."

At the end of the opera section of Bohemian Rhapsody, Freddie now emerges from a trap door under the stage.

Tie Your Mother Down is now the final song of the set proper, where it would remain through 1982, with a few exceptions.

The punk element of the era made its way into Queen's show, via the high-energy of Sheer Heart Attack. The song's performance would evolve over time, and soon the band, particularly Freddie, would really ham it up. For now only a small portion of the song is performed, and with a giant snare fill from Roger it merges into Jailhouse Rock. Brian May recalled in 2003: "Strangely enough it was Roger who would wince when someone suggested Sheer Heart Attack as an extra encore – it was totally draining for him to keep up that pattern, especially when we got into it and it got more and more extended in our enthusiasm."

We Will Rock You would be played once again near the end of the show on this tour, but this time the band would encourage audience participation - clapping and singing along to a song that would soon become an anthem for the band and rock music as a whole. Only the first verse would be played on the News Of The World tour. The second and third verses would be added for the Jazz tour and beyond.

John Deacon has switched back to his Fender Precision bass, which he'd use through to the end of Queen's touring days.

This is the first tour where Queen are well-off enough to afford their own private plane to travel between cities.

The first photo is from Shepperton Studios in London, where they spent the last week of October rehearsing (note that Freddie is holding the News Of The World inner sleeve, as he's still in the midst of memorizing the lyrics).

Footage of the band running through Good Old Fashioned Lover Boy and The Millionaire Waltz at Shepperton was seen at the "Stormtroopers in Stilettoes" exhibition in London in 2011. The footage, along with some of the dates on the ensuing tour, was filmed by Bob Harris and his Old Grey Whistle Test crew for a documentary intended to be aired in early 1978, but it took over 30 years for any of it to be seen. Other bits of the rehearsal footage were seen in the "American Dream" documentary on the News Of The World box set released in 2017.

The second row of photos are from a 1978 German magazine. This piece in Bravo primarily focused on the Portland show, so the photos may well be from this night.