#you know they all rocked bohemian rhapsody at the end of the night

[steverogersnotebook]

The Battle is Never Over

Bucky Barnes Bingo @buckybarnesbingo Bingo square: U1 Prompt: Karaoke Battle Ship/Pairing: Bucky Barnes & Steve Rogers & Sam Wilson Rating: Gen Tags: Bucky Barnes, Sam Wilson, Steve Rogers, karaoke battle, 40's music is cool, stubborn supersoldiers, moodboard Warnings/Triggers: None Summary: Karaoke night is always a battle. Bucky and Steve occasionally side against Sam just out of principle.

[danicamaximoff]

Pretend To Be Nice | Chapter One

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Chapter One: Bowling Alleys and Balding Men

Summary: A few months after forming their band "The Pussycats", Hazel and her friends PJ and Josie get noticed by a record label, and are quickly skyrocketed into fame. It's a dream come true for them, and all three of their lives are flipped upside down. Their quick arrival on the scene quickly draws the attention of many other artists and bands, including a popular girl band called "Nymphology". Unfortunately for Hazel, a mix-up and unintentional awful encounter ends up creating tension between the two groups right before they all leave for Nymphology's upcoming tour. Now forced to frequently interact with someone who she was convinced couldn't stand her, Hazel is desperately trying to fix things with the band's lead guitarist. However it doesn't help that Y/N is actively avoiding Hazel as much as possible, and the fact that Hazel found her insanely hot definitely didn't make things any easier.

Warnings: angst, rockstar au, eventual smut, slowburn, swearing, occasional alcohol mentions/use

Word Count: 2450

Hazel had always joked about starting a band one day and blowing up and getting super famous. When she was little, and her parents were still together, she used to dress up like Freddy Mercury and perform one-woman concerts of her favorite queen songs for her parents. Sure, third grade Hazel was definitely way off pitch, but after the third night in a row of being forced to sit through her completely butchering the high notes in Bohemian Rhapsody, Hazel’s parents quickly enrolled her in voice lessons. 

For Halloween during the fourth grade she went as Paul Simmons from Kiss. Most of the girls came as fairies or princesses, even a few witches, but not Hazel. She showed up to class with a shit eating grin on her face, waving at people as she passed by as they stared, smiling to herself about how cool people must think she looks. However, apparently people were less impressed than she thought, as during lunch a few of the girls from her class came up to her, giggling to themselves as they approached. 

One of them had asked why she looked so weird, and Hazel, assuming they wanted to know more about the band Kiss, began rambling about the band and her costume, eager to talk about her current obsession. They invited her to play with them during lunch, and even let her reenact songs and clips she had seen of the band from concert videos on YouTube, which she was more than happy to perform, as she had thought she was making friends, and they were genuinely interested in the band. 

However, later that day while waiting to get picked up, she learned that wasn’t the case, as she overheard the girls from lunch laughing with each other as they all made fun of Hazel, unaware she had been listening. Needless to say, Hazel didn’t go trick or treating that year.

In an attempt to make her feel better, a few days later her parents offered to sign her up for guitar lessons, which she quickly agreed to, convinced this was finally the start of her path to becoming a rockstar. She figured it would be easy, and once she became a master at guitar everyone would obviously want to be her friend. After all, who didn’t want to be friends with a super rich and famous rock star? Unfortunately, apparently it is much harder to learn the guitar than it seemed, and was much harder than the songs she would play on Guitar Hero afterschool, so she quit guitar lessons. 

She decided she would put her efforts into something easier, and also way cooler, and that year for Christmas her dad bought her a drum set, and she started learning how to play the drums. Turns out it’s way more fun to learn to play an instrument when your tiny elementary-schooler fingers aren’t in almost constant pain, and you get to hit stuff with sticks and make a lot of noise.

As the years went by she got better and better at the drums, meanwhile, her parents' marriage got worse and worse. Turns out aggressively whacking your drumsticks while you drown out your thoughts by playing the drums is a very good way to deal with all the negative emotions surrounding your parents’ divorce. 

In high school she met PJ and Josie, and for the first time in years, she felt like she actually had friends. Sure, maybe Josie and PJ hung out a lot more than the three of them did, and PJ always sort of changed topics whenever Hazel brought up cool facts she found out space and NASA, and maybe she’d groan everytime Hazel mentioned Orcas, especially during the period where Orcas were frequently attacking and sinking yachts, but Hazel didn’t mind. That’s just what friends do. 

She had brought up starting a band a few times, as she knew Josie could play the guitar, (How she handled the near constant feeling of sore fingertips and the sound of your nails scratching the metal strings the wrong way was beyond Hazel, but that’s besides the point) but every time she mentioned it would be cool or fun, Josie just said she’d be too scared, and PJ said it was lame.

So imagine Hazel’s surprise when PJ comes bursting into Hazel’s dorm one day during their sophomore year of college saying they all needed to start a band. Hazel was immediately onboard, though very confused as PJ had always said it was lame when Hazel brought it up, and initially Josie was against it, as she had stage fright, but PJ wouldn’t shut up about it, swearing up and down that if they started a band chicks would be lining up just to make eye contact with them, eventually wearing Josie down and getting her to say yes.

Hazel, of course, was the drummer, Josie played the guitar, and PJ, well, for a while PJ couldn’t decide what to do besides sing, and was totally against Hazel’s idea of playing the cowbell, claiming it was “dumb” and that “no girl looks at someone playing the cowbell and gets turned on.” Josie eventually got PJ to play the tambourine though, since PJ had awful stage presence, so she needed at least something to do while singing to distract from the fact that she had no clue how to perform on a stage. Hazel had tried giving her tips a few times, but PJ never accepted the help.

This led them to their current situation, as Hazel had pulled a few strings and got her classmate who worked at a local bowling alley to convince the manager to let Hazel and her friends play gigs once or twice a week there. PJ was convinced they were going to blow up and become super famous, but they had been playing at the bowling alley for a few months now, and the only thing that seemed to be “blowing up” was the bathroom during the occasional kids birthday parties that were thrown there. Maybe they’d have at least somewhat of a following if their band had a name of some kind, (PJ swore the right name would find them when the time was right, but that had yet to happen), or if the manager let them play during special event nights, when there were actually teenagers and young adults here, but alas, they were stuck with no name, no label, and playing on a cramped stage in a shitty bowling alley while middle-aged men met for their bowling team practice and complained about their wives.

“Hey guys, not to be like a buzzkill, but I don’t think the bowling alley is the best place to do gigs.” Hazel says as she stuffs her drum sticks into her bag.

“Yeah, I think Hazel’s right. I don’t think middle-aged men who are slowly balding at their weekly bowling team meetups are a great audience.” Josie says as she zips up the bag to her guitar case.

“What are you talking about? They love us! I literally saw Steve nodding his head to one of our songs earlier!” PJ says defensively as she scoffs and gestures to where the bowling team was sitting earlier.

“He wasn’t bobbing his head, he was drunk! He almost ate shit every time it was his turn to bowl!” Josie says as she rolls her eyes.

“Wait, seriously? How does that even work?” Hazel asks as she gives Josie a confused look from where she was sitting behind the drums.

“No, not seriously, Hazel! It’s a figure of speech!” PJ says as she rolls her eyes in annoyment.

“But you said-” Hazel says as she looks over at Josie with confusion.

“I meant he kept tripping and almost falling down. You know, like when someone falls on their face or something, people say they ate shit?” Josie says as she sighs as she cuts Hazel off and explains what she meant.

“Oooh. Yeah that makes more sense, you should’ve just said that.” Hazel says as she tilts her head back a bit in realization.

“Oh my god.” PJ says with an annoyed expression on her face. “Would you guys just trust me! We are going to get noticed! I swear! Maybe not… today… or super soon… But it will happen! There’s no way it won’t! And when we do, we’re going to get super rich, and super famous, and there’s going to be girls lining the block to see us, and everyone is going to wish they were us! I’m serious!” She says as she waves her arms around dramatically as she talks.

“PJ, that’s not going to happen! Stop lying to yourself! We are playing shitty gigs on shitty days of the week at a shitty bowling alley! We’re not going to get noticed! All this is doing is tanking my English grade because I’m practicing for these stupid gigs instead of writing my essays! It’s one thing if I was getting a C because people actually enjoyed and listened to our music, but the only people who are listening to us right now are a bunch of men who are going through midlife crises and give us weird looks! If I have to listen to them talk about Jimmy Buffet one more time I am going to lose my mind, PJ!” Josie says as she hoists the guitar case over her shoulder, clearly stressed out and looking a bit frazzled at the moment.

“Okay, I don’t think-” PJ starts to say, before Josie cuts her off.

“PJ, please! I can’t keep playing at bowling alleys!” Josie cries out dramatically.

“If you guys want I can reach out to my mom or something and see if-” Hazel starts to say, trying to suggest a way they might be able to play at places other than the bowling alley.

“No!” Both PJ and Josie snap at Hazel before turning back and continuing to argue with each other, causing her to wilt back in her seat a bit at the outburst.

“Okay, you know what? Fine! You win Josie! We’ll stop playing here, and we’ll figure out a name, or just stop the band all together and we’ll all die sad, miserable, lonely deaths!” PJ says as she snaps back at Josie. As they continue to argue, Hazel’s phone buzzes in her pocket, and she pulls it out to see a text from one of her classmates.

—

Emma (Calculus)

Hey! Random question, but you’re in a band, right?

—

That’s ironic. Hazel thinks to herself as she reads her classmates text and glances at PJ and Josie, who were still arguing, and looks back at her phone as she responds.

—

Hazel

Yeah! We just finished a gig! :)

—

Emma (Calculus)

Oh cool!

Are you guys free this Friday?

My brother’s throwing a party but the band he was going to have play canceled, would you guys be interested in playing? 

You don't have to be good lol, everyone will probably be super drunk anyways, he just likes live bands.

—

Hazel’s eyes go wide as she reads the text messages, blinking a few times in disbelief before looking up at PJ and Josie, who were still bickering with one another. “Guys, guys!” Hazel calls out as she tries to get their attention. “Guys, would you shut up and listen to me?” Hazel yells as she rolls her eyes, finally getting their attention.

“What do you want now, Hazel?” PJ asks as she looks at Hazel with an annoyed expression.

“I found us a gig! It’s this friday! This girl in my calculus class said her brother is throwing a party, and asked if we wanted to play!” Hazel says with an excited grin as she holds up her phone, despite the fact that PJ and Josie definitely couldn’t read it from where they were standing.

“Seriously? Holy shit! You said yes right?” PJ asks, both a shocked and excited expression on her face.

“No, because I wanted to make sure we were all free before-” Hazel starts to say before PJ cuts her off.

“Obviously we’re free! It’s a fucking party! See Josie? What’d I fucking tell you! I told you we’d get noticed!” PJ says as she hits Josie in the arm excitedly.

“We didn’t get noticed, PJ, Hazel just has friends.” Josie says as she gives PJ a look.

“So? That’s still technically getting noticed! We’re being asked to play at a party! I mean you just said you didn’t want to keep playing here, well here’s our chance! We have to do this! Just think of how many people are going to be at the party! I mean there’s gotta be at least a few girls who think we’re hot!” PJ says defensively as she rolls her eyes.

“Wait, are you only doing this to get with girls?” Hazel asks as she gives PJ a confused look. “I thought you actually wanted to be in a band and get famous and stuff.” She says as she frowns a bit.

“Yeah, I do! Because when you’re rich and famous everybody loves you and wants to be with you, and everyone who doesn’t is jealous of you and wants to be you!” PJ says with exasperation.

“Well I don’t think everyone-” Hazel starts to say, before PJ cuts her off.

“Okay, this is besides the point! We have three days before we play at the party, we need to figure out what we’re performing and find super hot outfits!” PJ says as she rolls her eyes and lets out an annoyed groan.

“Oh my god, there’s going to be so many people.” Josie says nervously as she looks away, eyes wide with fear.

“Yeah, so many people who are going to love us! This is our big break! After this we are going to become a party staple, and everyone is going to want us to play at their parties, and then from there, it’s only a matter of time before we get a record deal and become a global hit and the whole world knows our name!” PJ says excitedly as she waves her hands while she talks.

“If we’re going to play at parties and be super big and famous, don’t we kind of need a name?” Hazel says as she thinks, a confused look on her face as she looks back and forth between PJ and Josie, who both seem to remember they had yet to figure out a band name.

“We’ll do that tomorrow! We’ll all meet up and figure out a name for the band! It’ll be easy!” PJ says as she shrugs and looks at Josie and Hazel.

I hope you guys like the first chapter lol. I'm trying to update as frequently as I can but I do have work and college so bare with me lol. also lmk if you want me to make a tag list!! dividers from @saradika and @animatedglittergraphics-n-more graphic made by me lol

[freddiemercurylegendabovelegends]

Today, November 18th, 1975 - Queen Story!

Bristol, UK, Colston Hall (two night)

'A Night At The Opera Tour'

This article chronicles the second show in Bristol.

🔸Sounds, November 29, 1975

Queen triumphant

Report by Jonh Ingham, pictures by Kate Simon

QUEEN ARE the type of group that make a man want to abandon rock writing. They pose questions and never provide answers. They exist in their own space-time continuum, visible and audible but keeping their secrets to themselves.

On the surface they couldn't be a nicer bunch of people, but they carry English reticence to an epitome. It isn't, as Geoff Barton said two weeks ago, that they're boring, it's just that they're reserved. Or in writer parlance, they don't automatically provide colourful copy. All my instincts as a writer tell me that there is a great story in that band, but after two nights with them I'm hardly any the wiser.

Skin tight

That their insularity has a lot to do with them being one of the most amazing heavy-metal and/or rock bands in Britain - with all the signs that they'll end up monsters on the order of Zep - is fairly obvious, but just how much bearing it has on the matter is hard to say. The enigmas they might pose mightn't even have answers.

Is there any logical reason why they present an image and persona straight out of the Beatles school of interlocking chemistry?

John is reserved, almost nonchalant on stage, as if it's all in a small, personal joke. When asked how he saw himself within the framework of the band he replied, with a small smile, "I'm the bassist".

Roger is his opposite, the cheeky sidekick in a Clint Eastwood movie, and attracting a lot of cheesecake attention in America and Japan.

Freddie is an original - one of the most dynamic singers to tread the boards in quite a few years. His attraction is obvious.

Brian is perhaps the biggest enigma of all. What is this seemingly frail, gaunt astronomer doing on that stage, striding purposefully and blasting diamond-hard rock? They're all equally strong personalities - like the Beatles there's no one major focal point. Ask four fans who their dream Queen is and you'll get four different answers.

Queen have been busy lads these past few months. Having disassociated themselves from their former management and joined with John Reid, the fourth album was seen to. Reid decided that a tight schedule wouldn't cause them undue harm, and figured on two months to record before embarking on this current tour.

Only Queen are driven to better each previous album - which at this stage of the game is obviously producing some excellent results - and 'A Night At The Opera' turned into a saga - culminating in 36-hour mixing sessions in an effort to allow at least a few days for rehearsal. In the end they managed three and a half days at Elstree with four hours off to videotape the promotional film for 'Bohemian Rhapsody'.

Their first few dates had not been without errors and the quartet were still not feeling totally comfortable their second night in Bristol, fourth night of the tour. You'd never know it, though.

Like all other aspects of the group, the stage is sophisticated. A black scrim provides a backdrop bounded by a proscenium of lights both front and rear. At each side the p.a. rises like a mutant marriage of Mammon and Robby the Robot. Amp power is readily evident but the most extraordinary is Brian May's subtle set up: nine Vox boxes stepping back in rows of three. The only packing crate visible is holding a tray of drinks, and you may rest assured that no roadie will rush, crawl or lurk across the stage while the show is in progress unless it's to rescue Freddie's mike from the clawing crowd.

As the auditorium darkens the sound of an orchestra tuning up is heard over the p.a. The conductor taps his baton on the music stand and a slightly effete voice welcomes the audience to A Night At The Opera. The Gilbert & Sullivan portion of 'Bohemian Rhapsody' follows, a brief glimpse of Freddie is allowed, and then in a blast of flares and white smoke the blitzkrieg begins.

Roger is barely visible behind his kit, just his eyes and tousled locks. John is wearing a white suit and playing the-man-who-must-stand-still-or-it-will-all-blow-away. Brian is slightly medieval in his green and white Zandra Rhodes top, while Freddie is...

Around his ankles his satin white pants flare like wings - fleet footed Hermes. Everything north of the knee is skin tight - tighter than skin tight - with a zip-up front open to AA rating. But further south, definitely in X territory, lurks a bulge not unlike the Sunday Telegraph.

There have been sex objects and sex bombs, superstar potency and the arrogant presentation of this all-important area, but never has a man's weaponry been so flagrantly showcased. Fred could jump up on the drum stand and shake his cute arse, leap about and perform all manner of amazing acrobatics, but there it was, this rope in repose, barely leashed tumescence, the Queen's sceptre. Oh to be that hot costume, writhing across the mighty Fred!

Phallic

Freddie is not pretty in the conventional sense of the word; like Mick Jagger of '64, he is his own convention. Also like the Jagger of the time, his stage persona and action is unlike anything else. Although it borrows - like most of the group's plagiarisms - slightly from Zeppelin, in tandem with Freddie's supreme assurance and belief in himself - he always refers to himself as a star - it explodes into something that is a constant delight to watch.

He reacts to his audience almost like an over-emotional actress - Gloria Swanson, say, or perhaps Holly Woodlawn playing Bette Davis. At the climax of the second night in Bristol he paused at the top of the drum stand, looked back over the crowd and with complete, heartfelt emotion placed his delicate fingers to lips and blew a kiss. Any person who can consume themselves so completely in such a clichéd showbiz contrivance deserves to be called a star.

Freddie's real talent, though, is with his mike stand. No Rod Stewart mike stand callisthenics here, just a shortee stick that doubles as a cock, machine gun, ambiguous phallic symbol, and for a fleeting moment an imaginary guitar. He has a neat trick of standing quite still in particularly frantic moments and holding the stand vertically from his crotch up, draw a fragile finger along its length, ever closer to the taunting eyes that survey his audience.

Their show contains lots of bombs and smoke, lots of lights, lots of noise. They fulfil the function of supremely good heavy metal - i.e. you don't get a second to think about what's going on. When they do let up for a few minutes, it's only so you can focus in on the bright blue electric charge crackling between your ears.

Bulldozer

Dominating the sound is Roger's drumming, a bulldozer echo that bounces like an elastic membrane, meshing with your solar plexus so that your body pulses in synch with the thunder. Tuned into that, everything else is just supremely nice icing.

For three days rehearsal, after eight months off the road Bristol was extremely impressive. In speculative mood I quizzed people on how long they thought it would take to headline Madison Square Garden. I was thought a radical at a year and a half. John Reid smilingly assured me it would take a year.

That Queen should end up with John Reid is an entirely logical proceeding. Everything about Queen demands that the world eventually kowtows at their feet in complete acquiescence - so big that bodyguards have to accompany them at every step. Well, no - they found that an annoyance in Japan, but, you know, huge.

Such status demands a Reid or a Peter Grant, and whatever the causes for their leaving Jack Nelson and Trident, an elegant group like Queen is going to look for a man with class. Reid found the idea of managing a group interesting, and having to deal with four strong personalities a challenge. He only concerns himself with their business and ensuring that the year ahead is mapped out. In January they begin a jaunt through the Orient, Australia and America, by which time it's March and they begin preparations for the next album.

Reid's prediction of a year was proven highly credible the next evening in Cardiff. The band had still not paused from the rush up to the tour and spent most of the day relaxing and sleeping - no doubt a factor in their near recumbent profile. Also, unlike most groups, they were keeping their dissatisfaction with the show to themselves.

They stopped off at Harlech TV on the way to see a cassette of the video for 'Bohemian Rhapsody'. The general consensus was quite good for four hours, with much laughter during the operetta. Brian finds film of the group educational - the first time he saw himself was a Mike Mansfield opus for 'Keep Yourself Alive' - "It was 'All right fellows, give it everything you've got but don't move off that spot.' It was terrible." You don't like Mansfield, eh? "Oh, I hate him - we all do... I was horrified when I saw it - I couldn't believe we looked that bad. I looked very static - seeing myself has taught me a lot about stage movement. Some of the things I do are planned for effect, but it's mostly just feeling the audience and communicating that back to them."

Arriving at the motel - several miles out of town - Freddie immediately fell asleep, John held court of a sort, joined later by Brian, while Roger went jogging, a daily event when touring. Tuning in to rock via Bill Haley and Tommy Steele, he became a drummer because he was better at it than guitar. All through school he was in bands; he only went to dental school out of "middle class conditioning, and it was a good way to stay in London without having to work". His mother thought it a bit strange when he opted for a career as a rock star, but she doesn't worry too much now.

The concert starts in much the same manner as the previous night, but there are signs that tonight is work, with posing an afterthought. The endings to most of their songs are magnificent and majestic, especially 'Flick Of The Wrist' and the rapid harmonies of 'Bad Boy Leroy Brown'

➡️ keep reading on http://jonh-ingham.blogspot.com/2007/02/queen-riot-at-opera.html?m=1

[numberonenat]

i asked chat gpt to make a playlist based on each one of the brothers of obey me…

here's part 2 and 3: the dateables + luke / the side characters

here's what it gave me:

lucifer:

"sympathy for the devil" by the rolling stones

"smooth operator" by sade

"devil inside" by INXS

"demon" by imagine dragons

"lucifer" by SHINee

"bad guy" by billie eilish

"personal jesus" by depeche mode

"no rest for the wicked" by lykke li

"highway to hell" by AC/DC

"dark horse" by katy perry ft. juicy j

"i put a spell on you" by creedence clearwater revival

"power" by kanye West

"black magic woman" by santana

"boulevard of broken dreams" by green day

"wicked game" by chris isaak

mammon:

"can't stop the feeling!" by justin timberlake

"money" by pink floyd

"material girl" by madonna

"don't stop me now" by queen

"irresistible" by fall out boy ft. demi lovato

"i want it all" by queen

"rich girl" by hall & oates

"break free" by ariana grande

"gold digger" by kanye west

"born to be wild" by steppenwolf

"counting stars" by onerepublic

"uptown funk" by mark ronson ft. bruno mars

"i love it" by icona pop ft. charli XCX

"shut up and dance" by walk the moon

"take a walk" by passion pit

leviathan:

"nerd" by three loco

"all the small things" by blink-182

"the real slim shady" by eminem

"anime" by riton & kah-lo

"superhero" by 5 seconds of summer

"loser" by beck

"gamer" by karliene

"virtual insanity" by jamiroquai

"no tears left to cry" by ariana grande

"in the end" by linkin park

"radioactive" by imagine dragons

"the middle" by zedd, maren morris, grey

"numb" by linkin park

"gangnam style" by psy

"last friday night (T.G.I.F.)" by katy perry

satan:

"bitter sweet symphony" by the verve

"imagine" by john lennon

"bohemian rhapsody" by queen

"hotel california" by eagles

"hallelujah" by leonard cohen

"smooth" by santana ft. rob thomas

"time in a bottle" by jim croce

"wish you were here" by pink floyd

"somewhere only we know" by keane

"black" by pearl jam

"dust in the wind" by kansas

"vincent" by don mclean

"blackbird" by the beatles

"under the bridge" by red hot chili peppers

"sultans of swing" by dire straits

asmodeus:

"vogue" by madonna

"glamorous" by fergie ft. ludacris

"beautiful" by christina aguilera

"i'm too sexy" by right said fred

"fashion" by david bowie

"confident" by demi lovato

"glam" by christina aguilera

"fancy" by iggy azalea ft. charli XCX

"manicure" by lady gaga

"glamourous indie rock & roll" by the killers

"G.U.Y." by lady gaga

"primadonna" by MARINA

"supermodel (you better work)" by rupaul

"gold digger" by kanye west

"diamonds" by rihanna

beelzebub:

"sugar, sugar" by the archies

"banana pancakes" by jack johnson

"all star" by smash mouth

"don't stop believin'" by journey

"i want to hold your hand" by the beatles

"lean on me" by bill withers

"stand by me" by ben e. king

"with a little help from my friends" by the beatles

"three little birds" by bob marley & the wailers

"can't help falling in love" by elvis presley

"i'll be there for you" by the rembrandts

"count on me" by bruno mars

"lean on me" by club nouveau

"i just called to say i love you" by stevie wonder

"better together" by jack johnson

belphegor:

"enter sandman" by metallica

"lose yourself" by eminem

"don't wake me up" by chris brown

"sweet dreams (are made of this)" by eurythmics

"lazy song" by bruno mars

"sleeping in" by the postal service

"dreams" by fleetwood mac

"mad world" by tears for fears

"lucid dreams" by juice WRLD

"wake me up when september ends" by green day

"hotel california" by eagles

"boulevard of broken dreams" by green day

"i don't want to miss a thing" by aerosmith

"talking in your sleep" by the romantics

"no sleep 'til brooklyn" by beastie boys

this was fun lol

except for the repetitive ones, i acctually liked this - even with the ridiculous or that make no sense...

i'll definatelly make a part 2 with the side characters and maybe with characters from another fandom. i'll put the link here when i do it.

[iamthecomet]

Hi Comet! Here's another headcanon question. The whole band share one tourbus because I say so.

Who is the main person responsible for the roadtrip playlists? Which ghoul is banned from adding songs to the queue and why is it Rain for adding "What's New Pussycat?" 25 times in a row? Is there a song that everyone sings along to? Any songs added ironically to a playlist that the band members end up liking un-ironically by the end of the tour?

-Ghoulette Anon

HI! Road trip music headcanons under the cut because I'm insane and I had thoughts.

Cirrus is the head playlist maker. She is almost too organized, and this leads to being very good at putting together very curated playlists. They tend to be a little predictable sometimes, but there are certain days when that's exactly what they all need. Her playlists are best for quiet off days when everyone is tired, or long night drives. Swiss is the other trusted playlist maker. He is less curated, a little more random. But is good at picking songs that everyone likes. His goal with all of his playlists is to keep the mood up. He wants to hype everyone up, keep everyone happy. His playlists are great for sing-a-longs on long travel days. Sunshine was banned from having her playlists played on the bus when it became clear that 60% of them were comedy bands, or weird mixes of songs together (think Neil Cicierega) and while sometimes that's a great vibe at the Abbey, it's a little grating on tour. Rain is absolutely banned from adding songs to the queue. He is not allowed to be in control of the music at all. He's too unhinged, and known for, yes, playing the same song on repeat. He also has no sense of what songs should come after what. He thinks it's perfectly acceptable to put Cattle Decapitation on directly after The Spice Girls. He doesn't understand what everyone's problem is. Mountain is only allowed to play music late at night. He has a penchant for classical and folk songs and singer-songwriter stuff. everyone else is fine with that, but not when they're trying to get hyped up for a show. There are only so many sea shanties they can all take before someone is throwing something at Mountain and physically wrestling control of the music away from him. Aether's the classic rock guy. Loves his 70s and 80s rock. Especially punk. He is allowed to have control of the music during long days, but only until he starts playing the obscure stuff. Everyone is on board when he's playing The Clash and Black Sabbath and Van Halen, but as soon as he starts breaking out some punk band from London that only ever played one show he's cut off. Cumulus plays a lot of shoegaze. indie. early emo (Cursive is one of her favorites). She likes her music a little dreamy a little moody. Also a great choice for when they're driving through the night. But like Aether, when things start to get too obscure and weird someone has to cut her off. Dew is, weirdly, the best at manning the queue. When they've gotten sick of the playlists and everyone else has exhausted their permissions Dew is really good at finding the vibe and working with it. He knows a lot of music. And, while, if you caught him listening to k-pop back at the Abbey he would deny it until his last breath, he doesn't have shame about playing his guilty pleasure music for the rest of the band as long as it helps keep the peace. If asked about it, he'll say he knows it for this specific reason. No no, he's not mouthing the words, you're insane. Copia is really into early rock. Buddy Holly. The Beach Boys. The Monkees, all of that kind of stuff. He is also, inexplicably VERY into disco. If they don't listen to Abba's entire discography at least once during the tour he gets sad. Guaranteed full party sing-a-long songs? - I Want It That Way - Backstreet Boys - Take On Me - A Ha -Dancing Queen - Abba -Bohemian Rhapsody - Queen -Literally anything by Lady Gaga. I think there are A LOT of songs that get played while they're queuing music that get a lot of eye rolls at first or are played for the laugh, that they end up falling in love with by the end of the tour. Something about singing a song with people you love can make even the most cringe songs loveable. I also think that some of Sunshine's "weird joke" songs start to grow on them (turns out everyone loves Ninja Sex Party by the end of the tour).

[girlreviews]

Review #128: A Night At The Opera, Queen

Growing up in England, Queen and their songs are just part of life. I kind of love thinking about how a tiny little island has so much of its own art, music, and culture, and how when you step away from it you see how quirky and cool it is. Queen and their hits are still on heavy rotation on the radio, get people dancing at parties and big events, and every Millennial has probably seen the We Will Rock You musical 20 times.

So how is it that I had never actually listened to a single Queen album from start to finish? I since learned I am far from alone on this. Most of us haven’t! It makes sense. Everyone has the Greatest Hits album, and that’s what they know.

I was DELIGHTED by A Night At The Opera. Queen in their truest form, the most British sounding record ever. Lazing On A Sunday Afternoon is silly, whimsical, operatic, has a Kinks vibe, and lets you appreciate the harmonizing ooooohs and aaaahs that are signature.

Every song has its own persona and they’re all really different, but you can hear how they informed later Queen — the rhythm in ‘39 reminds me of Fat Bottom Girls. It’s different but it is just a glimpse into future paths of future songs. It’s the kick drum I think. It’s also completely beautiful, folky, gentle and whistful. But like they do, they overlay their melodic solos and the rich backing vocals so you end up with what sounds like Simon & Garfunkel if they got stuck at a pub lock in and forgot they were American.

Guitars and their solos sound like they are singing, answering the vocal melody. They really just weave between lighthearted and snarling serious. There is an entire song that is really big and brash that’s literally a love letter to a car. I really feel that, even though I drive a Prius hatchback. I AM in love with my car, and finally a song exists that acknowledges that love. Okay the song has existed since 1975, but I didn’t know that. I’m a late adopter I guess. In this track Freddie is singing about breaking up with his girlfriend so he can be in love with his car. I’m sort of inspired by the idea that one can be complete with nothing more than the freedom and autonomy of a car. It’s tongue in cheek for sure but that’s what’s beautiful about music — it can mean anything to anyone. I can listen to it sincerely if I want to.

You’re My Best Friend is still so sweet, and musically wonderful. What better way to express love and gratitude to someone than by a song in which you tell someone “you make me live”. I love it. It’s charming. It’s such a simple but deep sentiment.

I can’t help but hear The Kinks in these more whimsical songs, like Seaside Rendezvous, it’s the tinkery piano, the vocal effects, I swear this song actually DOES feature a kazoo or something similar. It’s got big Victorian seaside holiday energy. I can’t imagine that’s not what they were going for. It’s so British. It’s so unique. It’s so much more complicated than you initially hear. There’s so much to unpack in every song.

Okay, so Bohemian Rhapsody came to us via this record. Most of us heard it later when it was re-released and popularized by Wayne’s World in the 90s. Obviously it’s iconic and that’s why my mother and her girlfriends went out one night and on the way home Bohemian Rhapsody came on the radio. They got pulled over and questioned about their sobriety because they were witnessed recreating the scene in the car with Wayne and Garth. They were just rocking out.

I heard Bohemian Rhapsody REALLY young. I have vivid memories of sitting in the backseat hearing it and just being totally moved by it. I realize now it’s mostly because I heard it and understood it to be true and autobiographical. I sat and despaired that Freddie Mercury’s mother killed a man and now he’s gone and thrown it all away. I was so sad. I thought it was all true and happened. I got teary-eyed whenever it came on. I was a very sensitive child, if you couldn’t tell, and it wasn’t unusual for me to be moved to tears by music and words, even when I was tiny. That hasn’t changed much, either. I often wonder or wish that I could experience this song through someone else’s ears. What might they notice that I don’t? How might they feel?

I have a friend that shares my love of just going for a drive for no reason to look around and get lost. We often stick Bohemian Rhapsody on to lift our spirits and snap us out of a funk. It’s all the things and covers all emotions. It’s genuinely a journey, and honestly the entire record leading up to it is a journey too. Literally, like a night out at the opera.

[page-2-ids]

New Coining Event!

Hello and welcome to Synth’s Coining Rockin’ Event (or the “cre coining event” for the sane), a coining event entirely centered around rock music! Everything from J-Rock, to grunge, to hair metal! Any and everyone is welcome to participate! The event is going to last from May 1st to June 15! 

There aren’t really any rules, just some stuff I’d like to say before we get to the prompts. Every day of the event has two prompts, in theory the first one is a more known song and the second less known and also similar/linked in some way, but I don’t know how good of a job I did at that. It’s totally cool to do both prompts or just one, going off actual relation, vibes, whatever works! I’d like to ask that no one does genders just related to the listed song or songs/albums, just so we can avoid recoinings, but everything else is up for grabs!

Everyone is free to do all days, just a couple, multiple prompts a day, whatever floats your boat!

If anyone is interested in some tags they could use to organize or find terms, I have some of those under the cut. With all that out of the way, here are the prompts!

May 1st: November Rain (Guns N’ Roses) // (Don’t Fear) The Reaper (Blue Oyster Cult) May 2nd: Smells Like Teen Spirit (Nirvana) // Slither (Velvet Revolver) May 3rd: Dream On (Aerosmith) // Knockin’ On Heaven’s Door (any version) May 4th: Girls, Girls, Girls (Motley Crue) // Talk Dirty To Me (Poison) May 5th: Welcome to the Jungle (Guns N’ Roses) // Nightrain (Guns N’ Roses) May 6th: Every Rose Has Its Thorn (Poison) // Snuff (Slipknot) May 7th: I Don’t Want To Miss A Thing (Aerosmith) // I’d Die For You (Bon Jovi) May 8th: Livin’ On A Prayer (Bon Jovi) // Viva la Gloria! (Green Day) May 9th: You Give Love A Bad Name (Bon Jovi) // Shot Through The Heart (Bon Jovi) May 10th: Slippery When Wet (Bon Jovi) // 7800° Degrees Fahrenheit (Bon Jovi) May 11th: Dr. Feelgood (Motley Crue) // London Calling (The Clash) May 12th: American Idiot (Green Day) // 21st Century Breakdown (Green Day) May 13th: The Black Parade (My Chemical Romance) // Danger Days: The True Lives Of the Fabulous Killjoys (My Chemical Romance) May 14th: Comfortably Numb (Pink Floyd) // Give Me Novacaine (Green Day) May 15th: Numb (Linkin Park) // Shadow On the Sun (Audioslave) May 16th: Are We the Waiting (Green Day) // The Thin Ice (Pink Floyd) May 17th: Everlong (Foo Fighters) // She’s a Rebel (Green Day) May 18th: I Don’t Love You You (My Chemical Romance) // Don’t Cry (Guns N’ Roses) May 19th: Basketcase (Green Day) // Everyday is News (Shinsei Kamattechan) May 20th: Holiday (Green Day) // God Save the Queen (Sex Pistols) May 21st: Bohemian Rhapsody (Queen) // Homecoming (Green Day) May 22nd: Rock You Like a Hurricane (Scorpions) // Young Lust (Pink Floyd) May 23rd: Somebody Told Me (The Killers) // Michael (Franz Ferdinand) May 24th: The Sharpest Lives (My Chemical Romance) // Kickstart My Heart (Motley Crue) May 25th: In The End (Linkin Park) // Last Resort (Papa Roach) May 26th: Pour Some Sugar On Me (Def Leppard) // Cherry Pie (Warrant) May 27th: Here I Go Again (Whitesnake) // Street Of Dreams (Guns N’ Roses) May 28th: Should I Stay Or Should I Go (The Clash) // American Woman (Lenny Kravitz) May 29th: Shout At the Devil (Motley Crue) // The Hardest Part Is The Night (Bon Jovi) May 30th: Closer (Nine Inch Nails) // Wither (Tech N9ne, Corey Taylor) May 31st: I Love Rock N’ Roll (Joan Jett) // Mental Health(Bang Your Head) (Quiet Riot) June 1st: Master of Puppets (Metallica) // Under The Bridge (Red Hot Chili Peppers) June 2nd: Enter Sandman (Metallica) // Nightmare (Avenged Sevenfold) June 3rd: Toxicity (System Of A Down) // Carnivore (Body Count) June 4th: Nevermind (Nirvana) // Whatever (Adore Delano) June 5th: Sweet Child O’ Mine (Guns N’ Roses) // Born To Be My Baby (Bon Jovi) June 6th: Psychosocial (Slipknot) // Welcome to Horrorwood (Ice Nine Kills) June 7th: A Little Piece of Heaven (Avenged Sevenfold) // Enthrone (CHTHONIC) June 8th: Walk This Way (Aerosmith or Aerosmith, Run D.M.C.) // Bring The Noise (Public Enemy, Anthrax) June 9th: Rocket Man (Elton John) // Purple Haze (Jimi Hendrix) June 10th: Say It Ain’t So (Weezer) // Inside Out (Eve 6) June 11th: Letterbomb (Green Day) // Better (Guns N’ Roses) June 12th: I Write Sins Not Tragedies (Panic! At The Disco) // Sugar, We’re Goin’ Down (Fall Out Boy) June 13th: Combat Rock (The Clash) // Never Mind the Bollocks, Here’s the Sex Pistols (The Sex Pistols) June 14th: Runaway Train (Soul Asylum) // Patience (Guns N’ Roses) June 15th: Dust N’ Bones (Guns N’ Roses) // Homebound Train (Bon Jovi)

For anyone interested, here are the tags I’ll be using to organize genders related to certain bands. No one has to use them, but I thought someone would be interested and I’m bored! Also, all of these terms have already been coined, by me or someone else, that’s why not everything has a tag

Guns N’ Roses - #nrosesgender

Bon Jovi - #bonjender // #bonjovigender

Motley Crue - #cruegender

Green Day - #greendaygender

Slipknot - #slipknotgender

Poison - #poisoningender

My Chemical Romance - #mychemancegender

The Clash - #clashgender

The Sex Pistols - #sextolgender // #sextolsgender

Avenged Sevenfold - #sevenfoldgender

Shinsei Kamattechan - #kamattegender

Red Hot Chili Peppers - #rhcpgender

Metallica - #metallicagender

Nirvana - #nirvanagender

Body Count - #bodycountgender

Linkin Park - #linkinian

Aerosmith - #aerosmithgender

Velvet Revolver - #velvolvergender

Quiet Riot - #quiotgender // #rietgender

[ripdragonbeans]

KARAOKE HEADCANONS!!!

Hi I just finished up a karaoke night with my cousins and we were BOPPING and I thought of this so here we go!

Divider by @firefly-graphics

Aegon

What a party dude

The one who books the karaoke room

Brings all the beer he can

You know what? He brings all the beverages

Starts off the night by singing first

Fucking rocks it out

Absolute hype man

When he's not singing he's drumming on the table

If the room offers little tambourines he's all over that

As he starts getting drunk he goes for old Taylor Swift songs

Gets emotional singing Back To December

He's up out of his seat dancing and head banging to every song

Chooses Baby Shark as a joke but goes HARD

Aemond

He's there to be the designated driver

Hangs out in the back corner of the room away from the intense noise

Warms up as he drinks

Not much of a solo guy but will sing along with others

Aegon convinces Aemond to do a duet

It's Girlfriend by Avril Lavigne

Aemond is pretty tipsy now

But damn is he having the time of his life

Um he does hard rock ballads really well

Every Rose Has Its Thorn and High Enough take everyone for a spin

As the night goes on he slowly lets his hair down literally

Helps Helaena in making sure everyone is sobering up at the end

Reminds people how much time they have left in the room

Helaena

Still her soft self

Like Aemond it takes a while to warm up but she's faster at it than Aemond

Ballads are absolutely her thing when she's sober

Once she gets a drink or two in she's hitting those pop punk tunes with Jace

Fucking kills Bring Me To Life by Evanescence

Floors everyone with Love On Top by Beyonce

Favorite ballad to sing is My Heart Will Go On by Celine Dion

Kelly Clarkson songs are so perfect for her

Makes sure everyone drinks their water throughout the night

Absolutely cheers everyone on

Joins Aegon with the tambourines

Jace

Slightly not as hype as Aegon but definitely a close second

Starts his night with Bohemian Rhapsody

Gets really picky about the order of songe purely for the flow

He's in charge of the remote controller for the machine

Tries his best to get some good videos of everyone

Live streams part of the night

Messes with the fun lights in the room to create the perfect atmosphere

Air guitar dude

Him and Aegon are the main sources of entertainment

He's a Plain White T's and Train kinda guy when it comes to ballads

Will yell Call Me Maybe

[greypetrel]

Hey!! 11 and 13 for all of them, 14 for Aisling 💗

Hey there! ✨

Ok, these were a lot, but thank you! I remembered some artists that I haven't listened to in... A lot. (and I didn't expect that deciding two of them are poly would have lead to "Spend a very long time deciding ship songs, but it's been lovely!)

Tis the prompt list

11. a song that reminds my muse of their family

Alyra: And your Bird Can Sing, the Beatles. She didn't have the best of relationships with her clan. Thought them too closed. When the Keeper told her that looking for Tamlen was a loss of time, she decided that was it. When Tamlen actually came around? Let's say that if Merethari showed up at the celebrations after the last battle, instead of Ashalle, she would have headbutted her on the spot. Hard.

Raina: Bohemian Rhapsody, Queen. Bismillah no, we will not let you go - Never never never let me go.

Aisling: No Roots, Alice Merton. She doesn't share blood with her family. Never has, she decided she didn't want to know anything of the family she was born with. But, Home was never on the ground, she's extremely grateful to the Lavellan, even if she looks nothing like any of them. And, it taught her that anyone can become family, doesn't matter where you were born.

13. a song dedicated to on of my muse’s ships (specify ship) (this made me regret the "Let's go poly!" choices, argh.)

Alyra + Alistair: Siúil a Rúin, Clannad I'll sell my rock, I'll sell my reel, / I'll sell my only spinning wheel, / To buy my love a sword of steel Alyra + Morrigan: Kamikaze, Susanne Sundfør Did you ever feel your heart broken? / Did you ever feel it's the end of the world? / The bells are ringing, but the blood stopped pumping / As I feel the weight of the fall

Raina + Merrill: Too Late to Turn Back Now, Cornelius Brothers and Sisters I'll tell you, I can't sleep at night / For wanting to hold her tight / I've tried so hard to convince myself / This feeling just can't be right

Raina + Isabela: Wetsuit, The Vaccines Does holy water make you pure? / Submerged, your vision's just obscured / You're a lot like me / In up to our knees / In over your chest is way too deep

Aisling + Cullen: Jackie and Wilson, Hozier She blows outta nowhere, roman candle of the wild / Laughing away through my feeble disguise / No other version of me I would rather be tonight. / And, Lord, she found me just in time

14. a song that my muse would sing to their children

Aisling: ... This could be its own playlist because I can picture her singing non stop about all kind of things. Here's some in canon.

- Damhsa na gCoiníní- Lasairfhíona Ní Chonaola (A lullaby) - The Golden Afternoon - Alice in Wonderland OST (i don't like Alice in Wonderland in any form, nor the book nor the movie, but this is something Aisling could make up out of thin air just because. Also "Tiger lily loves the dandeLION", come on.) - And of course the VERY necessary Bean Phaidin to tell the little bean of Doris the Rage Demon.

In modern times it's a lot of classic rock, lots of Beatles and those poor children would be annoyied to the death with Magic Dance from the Labyrinth soundtrack, when they'll stop laughing at random Aisling starting with "You remind me of the babe!" to which Cullen has the moral obligation to reply "What babe?" so they can go on. Every time someone cries they start. Every. Time.

[livvyofthelake]

my outfit today is giving guy who likes music in 2009 btw. got that t shirt over long sleeved shirt vibe. and black jeans even. doc martens too even. the shirt is a queen t shirt even. i don’t like music tho. and i probably can’t name five queen songs watch i’ll try. bohemian rhapsody. um the don’t stop me one. well killer queen obviously. hm. we are the champions? oh under pressure. nvm i can name five. oh another one bites the dust. wait guys i forgot i do actually listen to queen sometimes that’s crazy i didn’t think i rocked with music like that. ok well this has been a stream of consciousness post you all know i don’t read these back to edit just take the ride with me… speaking of music when i get home i’m gonna read my fanfiction like crazyyyyy i’m so psyched even though. nvm buddha nature. not the hunger games au. the beloved one from the other perspective. well storygraph mutuals know i marked her as currently reading last night. which ended up being more complicated than i think it needed to be because all these fandom freaks who read this and logged it on storygraph split it up into parts. idk why they always do that it’s infuriating… like girl it is ONE long ass “book” i’m not fucking with my reading data any more than that i’m not logging multiple books get serious. lol. nevermind. ok bye love beth

[natromanxoff]

Evening Post - November 25, 1991

(x)

Pop world mourns loss of Queen singer

FREDDIE MERCURY DIES OF AIDS

[Photo caption: Mercury pictured in September]

[Photo caption: SHOWMAN: Mercury’s unique stage style that made him a rock legend]

FANS and friends of pop star Freddie Mercury were today mourning his deah from Aids.

The 45-year-old singer of rock group Queen died peacefully during the night at his luxury London mansion, just hours after telling the world he had the disease.

Mercury's publicist Roxy Meade said: "His death was the result of broncho-pneumonia brought on by Aids."

The flamboyant star had lived like a recluse for the past two years, the illness leaving him frail and gaunt.

Tributes soon poured in for the singer who had helped make Queen one of the most successful acts in the world.

Ultimate

DJ and comedian Kenny Everett, a close friend of the singer, said: "He burnt the candle at both ends — and in the middle."

Rock critic Paul Gambaccini told TV-am: “What a star. They don’t make them like him anymore. He really gave life and showmanship to (…).

“He could command an audience, hold an audience in the palm of his hand. The climate was when he and the group absolutely stole Live Aid.”

Queen rose to force in the early 70s with a series of epic albums and singles culminating in the Number One smash hit Bohemian Rhapsody.

That was the song which began the video revolution in pop music. and the band stayed ahead of the pack with a run of spectacular and sometimes outrageous promotional films for their hits.

Mercury will be cremated in a private ceremony later this week.

He confirmed only on Saturday that he suffering from Aids. He issued a statement saying he wanted to end speculation about his health.

His statement to The […]

Mercury dies

[…] Press Association said: “Following the enormous conjecture in the press over the last two weeks, I wish to confirm that I have been tested HIV positive and have Aids.

“I felt it correct to keep this information private to date in order to protect the privacy of those around me.

“However, the time has now come for my friends and fans around the world to know the truth and I hope that everyone will join with me, my doctors and all those worldwide in the fight against this terrible disease.”

Musician turned politician Screaming Lord Sutch, who played on the same bills as Queen in the early 1970s, said: “We have lost a most original and entertaining singer who inspired many, many people.”

He said Mercury deserved to ranked alongside Mick Jagger and Elvis Presley.

DEATH OF A SHOWMAN

Front door exit for a legend

THE BIG FINISH

By JAMES BELSEY

FREDDIE MERCURY died as he lived last night… in a worldwide blaze of publicity.

It was only on Saturday that the over-the-top rock singer confirmed what we’d all suspected for months — that he was suffering from Aids.

Rare sightings of Mercury this year had shown a shockingly different picture of the man.

The chin-forward, grinning arrogance and that amused, boyish look had vanished.

Fortune

In its place was a spectral shadow of the Mercury who had catapulted Queen to worldwide fame and kept them there for almost two decades.

His kamikaze lifestyle of sex and drugs and rock'n'roll had finally taken its toll.

Rock music’s long list of stars who thought they were immortal and could live by a different set of rules to the rest of us had found its latest casualty.

Freddie had enormous talent and a stage presence that magnetised an audience at the swivel of a hip or the raising of an arm in his characteristic pose of defiance.

He amassed a huge fortune, lived in a £5 million mansion home in Kensington, showered gifts on friends and lovers but remained, at heart, a lonely, increasingly bitter man.

He once said: and "You can have everything and still be the loneliest man and that is the bitter tupe of loneliness.

Success has brought me world idolisation and milions of pounds, but it has prevented me from having the one thing we all need… a loving, on-going relationship.

I can't win Love is a Russian roulette for me. I try to hold back when I’m attracted to someone, but I just can’t control love. It runs riot. All my one night stands are just me playing my part.”

Freddie made no secret of his bisexuality. “I’ve had a lot of lovers. I’ve tried relationships on either side — male and female. But all of them have gone wrong.”

His longest love affair was with blonde Mary Austin which ended after seven years. They remained close friends and she worked for him as part of his staff.

He even became godfather to her son Richard two years ago and spoke of a new sense of responsibility.

His lavish generosity and party-living was outrageous and legendary.

Banquet

After Wembley in 1987 he hired a body painter from Germany and guests were amazed to find the “uniformed" bell boys were, in fact, naked. And at a banquet in New Orleans he hid a nude model in a huge tray of raw liver, making it quiver.

For another he hired Concorde and flew friends over the Atlantic at vast expense.

In one of his final interviews a few weeks ago, the by now painfully thin Mercury said: “I don’t really think about when I’m dead or how they are going to remember me.

“When I'm dead, who cares? I don’t”.

How Mercury became the first video star

FREDDIE MERCURY was born Frederick Bulsara in Zanzibar on September 5, 1946, son of a government accountant. He was educated first at a boarding school in Bombay.

When the family returned to England he became a student at Ealing College of Art. For a decade Britain’s art schools had been the breeding ground for a string of the world’s top groups.

Freddie longed to be a star and in 1971 teamed up with like-minded students Brian May, John Deacon and Roger Taylor.

Their aim: to shock and amuse their way to the top. A new, young generation of glam rockers were pressing hard on the heels of the now mature Sixties superstars.

What was the most outrageous title for a band? They chose Queen, with its clear double meaning and, just in case anyone had missed the point, dolled themselves up with make-up.

Within a year they were the talk of the college circuit. Within two years they’d been signed up by EMI and their debut album Queen was released in July 1973, followed up with two gigantically successful national tours in 1974 and 1975.

Queen came to the Colston Hall in Bristol on November 12, 1974 and November 17, 1975. After the second gig Freddie changed out of his stage gear, a slashed to-the-waist catsuit and threw a party for pals and the road crew.

They returned to Bristol Hippodrome on December 9, 1979, as one of the world’s top attractions.

Mercury knew how to sell himself and the band better than anyone. It’s no coincidence that Queen single-handedly changed the rock industry overnight.

They knew they had s huge hit with their dynamic single Bohemian Rhapsody. But how to sell it?

In came the innovative answer. At the cost of a few thousand pounds they recorded a video film to promote single. Within months the rock video had ceased to be a novelty — and became an essential part of the business.

Typically, it was Freddie who’d been the first rock video star.

Avon Aids campaign launched

FREDDIE Mercury's death comes as health experts in Avon launch a new campaign to highlight Aids.

A series of events began today as part of a week-long Avons Aids Week designed to bring the disease into the public eye.

Experts are keen to dispel any complacency — particulary among heterosexuals — about the HIV virus.

anyope had missed the point,

And Health Secretary and Bristol West MP William Waldegrave has backed the campaign.

Increase

*We have done slightly better than was initally predicted but there is a slow-ticking time bomb of the disease moving across to the heterosexual community,” he said.

“Unless we act now we can predict that in five or ten years’ time we will see a big increase again of the disease in the straight community.

“We have got to get everybody as sensitive to this issue as they gay community is now.”

FAY GOULD

[Photo caption: THE CHAMPION: Top, Mercury had it all. Above, on stage during Queen’s Colston Hall concert back in 1975]

[luimnigh]

The first opening act was Maid of Ace, a punk-rock band made up of a quartet of sisters from Hastings in the south of England. They were fun, had a very raw, harsh style to them. They played so hard it made me feel like I was on the barrier.

Next up was Nothing But Thieves, who surpised me by having some songs I knew. Specifically, their tracks Sorry and Welcome To The DCC.

Real solid band, a more pop-oriented sound, with some tracks having electronic influence. The vocalist worked the crowd well, too, he was funny. Joked about the band having a confused sound, and said the next song was the best song on their setlist, before breaking into a cover of The Pixies' Where Is My Mind.

I'm not a person who's really big into discovering music, but they definitely encouraged me to look up some more of their stuff.

But finally, it was time for the only band I go to concerts for: Green Day.

And they were off to a surprise: after the traditional crowd-hyping use of Bohemian Rhapsody and Blitzkrieg Bop, the usual song for the walk on-stage is The Good, The Bad and The Ugly; but this time it was a mashup of The Imperial March, We Will Rock You, and I Love Rock And Roll.

And after starting with The American Dream Is Killing Me from the new album Saviors, they then launched into the gimmick of this tour.

It's the thirtieth anniversary of their breakthrough album, Dookie. So they're playing the entire album, in order, for every show.

I heard so many songs I've never heard live before. Having A Blast, Chump, Pulling Teeth, Coming Clean, Emenius Sleepus, In The End, F.O.D....

Even ones I have heard live don't always get on the setlist. It was 2013 when I last heard Burnout and Sassafras Roots and 2017 for She.

The only Dookie songs you're guaranteed to hear every time are Basket Case, When I Come Around, Welcome to Paradise and Longview. So it was so fucking good to hear all this stuff.

Though speaking of things I've never seen live before: midway through Chump, Billie stopped the whole show because he saw someone go down in the crowd, and only started again after he'd seen them get back up and made sure they had a path out of the crowd.

I'd seen videos of him doing this, but it's never happened at any of the shows I've been to before.

So after finishing off Dookie (including orchestral version of the secret track, All By Myself, sung by Tre), we were back into some old favourites and new tracks.

Know Your Enemy is basically the only guaranteed song from 21st Century Breakdown (even 21 Guns only gets played half the time, in my experience), then there was a trio of songs from the new album (Look Ma, No Brains!; Dirty Rotten Bastard, and Dilemma, which was my favourite of the three), followed by Minority and, much to my surprise, Brain Stew, which I love but have only heard them play once before.

And then we got into the other anniversary this tour is celebrating.

See, it's not just 30 Years since Dookie... it's also the twentieth anniversary of American Idiot.

And they're playing the whole of it too.

And American Idiot is fantastic for this sort of treatment, because American Idiot is a rock opera. There's a storyline running through the songs.

That's why they turned it into a musical.

While American Idiot has more songs in the rotation, there's still plenty I hadn't heard before. Give Me Novacaine, She's A Rebel, Extraordinary Girl, Homecoming (the other 9min song from the album) and Whatsername.

God, Whatsername. I love that one.

And 2017 was the last time I heard Letterbomb.

And we ended the night with two encore songs. First up was Bobby Sox, from the new album.

God, I hope they never stop playing Bobby Sox at shows.

Just hearing thousands of people roaring out the final chorus of:

"Do you wanna be my girlfriend?

Do you wanna be my boyfriend?

Do you wanna be my girlfriend?

Do you wanna be my boyfriend?"

Turning entire stadiums of people bi, if only for a few minutes. And during pride month! Never stop playing this one.

And then Billie came out with an acoustic guitar and started to play 99 Bottles Of Beer On The Wall just to fuck with us, before ending it with Good Riddance.

After the concert, in a moment directly out of r/thathappened, a guy came up to me and said I'd made his night, because I'd sung along to the entire performance and knew all the words to every aong. I'm pretty sure I forgot some, but I swear that happened.

Then it took an hour and half to get a tram back to the city centre, where I was delighted to discover than most fast food restaurants were still open past midnight.

Even Subway. Subway in my hometown closes at 5pm.

So, yeah. Fucking amazing time. And honestly? Not too hard on my savings. Ticket to the concert was a Christmas gift, so all I paid for was hotel and flights, and that came out to under €300 despite the fact I booked last-minute. Didn't even spend half the pounds I had converted, too.

Which is good, because I have a wedding to go to later this year.

So, Day 2 of Manchester, and the only full day I spent there, as I am writing this from the Airport on Day 3. Just a flying visit.

So after having breakfast, and with a few hours before my appointment, I decided to go visit an attraction. On the way, I saw some nice sights:

I saw Manchester Central Library from my tram.

No idea what these are, but I think they're taller than any building in my entire country. Ireland doesn't build upwards, for some reason.

Foreshadowing for my next trip abroad.

Nice looking bridge.

It's difficult to make out, but there's Blue Peter badges on the railing in front of the building.

But anyway, I'd come here to see a exhibition that details a history of strife and turmoil, death and atrocity, and many terrible deeds.

The Coronation Street Experience!

Just kidding, I went to the Imperial War Museum (North).

Despite the name, it's a very somber, respectful, and ultimately anti-war museum detailing the personal stories of soldiers and civilians from wars across the 20th Century.

The first thing you see when you walk into the main exhibition space is an anti-war sculpture, invoking both the imagery of military graveyards and bombed-out cityscapes:

Then again, the second thing you see is a Harrier Jumpjet:

[freddie-mercury-rising]

Day 18: “March of the Black Queen” from Queen 2  

*rolls up sleeves*

 Okay, this is like Bohemian Rhapsody’s mother. Seriously, this is Bo Rhap’s mama that has a lot more experience and is a lot darker, and will whip you if she needs to and won’t feel sorry about it.

 When I first heard this song, I was like “wait, wait, what! OMG, I have to listen to that again. Wait. It keeps going? Is this still the same song?”

 Once I picked my jaw up off the floor, I listened again, and again, and again, and then it became one of my favorite Queen songs of all time. It has IT ALL, baby.

 The beginning is … iconic. There’s this piano, followed by lone guitar sound. This feels intense already.

“AHH! Do you mean it, do you mean it?!” With the screams in the background.

Oh shit, I get chills, to this day.

“Why do I follow you, and where do you go?”

Oh shit, here comes the bass, and drums! Followed by more screeching and wailing. It is crescendo-ing already and we’ve only just begun.

“You’ve never seen nothing like it---no never in your life. Like going up to heaven and then coming back alive. Let me tell you all ABOUT it….if it the world will so allow it.” The overdubs, the multitracking harmonies! (don’t @ me, I have no idea what I’m talking about) I just know that my body is thrumming.

Here comes the BLACK QUEEN POKING IN THE PILE--FIE FOE THE BLACK QUEEN marching single file.

Bring them down to sizeeeeee.

Oh my GOD, you all go listen to this NOW. Brian May rocks my fucking ovaries out.

Put them in the cellar with the naughty boys. (OH shit, this is kinky!)

Yes, yes, I know they say the n word in this song and I don’t approve. I don’t know what the hell it’s supposed to mean in this context, and it was always very strange. Not condoning it. I don’t know but I think it was removed from some later versions?

This whole song is just going whacky and it’s flipping me out when Freddie whispers in my ear that I can be his sugar baby, I can be his honey child. I’m like OK Daddy, whatever you say. (drooling)

Then at around 2:43, I’m like OKAY cool, the song is ending. That was lovely. So cool. I’m in love.

 THEN. Then. Freddie’s sweet fucking angelic voice. MY GOD.

Eyes from behind me reminds me. Spread out your wings you are an angel. Remember to deliver with the speed of light.... a little bit of love (ahhhahh love) and joy. Everything you do bears a will and a why and a wherefore.

A little bit of love and joy…

Then we got the fluttering piano and then Brian is back. And then the screams!

Oh my god here we go again. My vulva is on a rollercoaster.

Then the (glorious) darkness sets in again.

I REIGN WITH MY LEFT HAND, I RULE WITH MY RIGHT.

I’m LORD OF ALL DARKNESS – I’m QUEEN of the night!  (HOLY SHIT this is brilliant)

I’ve got the power. Now do the march of the Black Queen.

Then, ROGER BABY with his raspy amazing rock-n-roll voice: “My life is in your hands, I’ll foe and I’ll fie.”

“I’ll be what you make me. I’ll do what you like. I’ll be your bad boy.” TMI but my whole pelvis just flew into outer space, Freddie. You dirty little dog. You trying to kill me? Welcome another raucous instrumental from the boys.

At around 5:43, we are like aww that was lovely. And Brian is seeing us out with his classic beautiful guitar.

But, NO sister! No no no. It’s not over yet, fuckers!

“Forget you sing-a-longs and your lullabies…

Surrender to the city of the fireflies!” WHAT THE FUCK FREDDIE! You bloody genius.

If you all don’t have an eargasm listening to this, just don’t talk to me. LOL

[lonelyasawhisper]

If Queen Won't, Brian May

Sylvie Simmons, Creem, 1st March 1984

SO HERE I am back in the giant Ajax can on Vine Street and waiting for Brian May. I look at my watch; the little hand and the big hand are sticking up like a peace sign; almost noon and it's hard to believe I'm up at this ungodly hour after last night's festivities, let alone the star. (Capitol threw a party to welcome Queen into the Ajax Can family — Elektra won't be getting The Works when it comes out early next year. There were hors d'oeuvres, aperitifs, and talking of a pair of teeths, Freddie Mercury, Roger Taylor, John Deacon and Brian May.) This is not the usual fluorescent-lit room where Duran Duran posters smirk cheekbonely from the walls. This is a cozy chamber tucked around the back somewhere, through convoluted corridors and up and down staircases — couldn't find it again even if you threatened me with a night at Plato's with Steve Perry — dark and small as a confession box...

I confess! I know I shouldn't; I know there's a reputation to consider; I know Mötley Crüe told me just the other day that they're "the opposite" of this band. But I LIKE QUEEN. There, I've said it. Not only do I have all their albums (except Hot Space; I'm not that daft) but I sing 'Bohemian Rhapsody' in its entirety at the slightest provocation. And the Brian May-penned 'Flash' is probably the best sci-fi theme tune in the Universe.

Though Brian may not agree. For one, the title track on the first album he's ever done outside of Queen just happens to be a sci-fi theme tune called 'Star Fleet'; for another he's so modest and understated you virtually have to beat the bloke with rubber truncheons to get him to admit that Queen are pretty big.

Anyway, the Star Fleet Project is a mini album — as May's own liner notes say, it's "not your normal kind of album; not an album which has been 'thoughtfully pieced together by a coordinated band as a balanced and polished listening experience.' Not a Queen album." Certainly isn't. All three songs — 'Star Fleet', the theme from a Japanese Saturday morning sci-fi program that shows on English TV that Brian got hooked on thanks to his young son Jimmy, 'Let Me Out', a song Brian wrote for Queen years ago that was never used, and 'Blues Breaker', dedicated to Eric Clapton, the man whose axe-work with Cream inspired a 15-year-old May to build his own electric guitar — were recorded over a two-day period back in April during a break from the year-around Queen boxing match. At loose ends, Brian called up some music friends in Los Angeles and jammed. Yes — jammed. What they used to do in the old days when musicians spent more time with each other than their accountants. Anyway, after much thought — and a bit of persuasion from Heavy Pettin', a British rock band he was producing on the side who heard the tapes and drooled — and more red tape, the jamming session got put out as pure and untouched as Michael Jackson, and credited to Brian May And Friends. His friends? Neighbor Alan Gratzer of REO Speedwagon, Phil Chen, ex-Rod Stewart bassist, Fred Mandel, the former Alice Cooper member who showed up on Queen's last tour, and on co-lead, Eddie Van Halen. (The two met when Brian caught Van Halen's set on a Black Sabbath tour and got friendlier when they met up again in Germany and confessed to being mutual fans.)

Brian May has just walked into the chamber, right on time. He's tall, got the same hairdo he's had for years, an intent expression on his face and a soft, very English voice.

"We had some time off from the group which we forced on ourselves," he's saying about why he's just done a record that sounds like it could have been made any time in the past 11 years Queen's been together. "We felt, Queen, that we'd got too close to each other and we needed a break. We all do different things — Roger's been making an album, Freddie's been doing stuff with Michael Jackson, John's been doing all kinds of stuff with computers and weird machines, and I thought, 'Why don't I do something?' Most of my favorite musicians were around L.A. where I was, and they all said 'yeah, great, let's go and do it.' Which really surprised me; I thought people would say yeah great, but we're busy.' So I booked the Record Plant and we went in and tried it, and it worked out better than I could ever have dreamed. One of the best times of my life, really."

He doesn't have too many friends in the business, he says. "They are pretty well my best friends, but also some of my favorite players." They're also veterans of some of the most commercially successful, richest mainstream rock bands around. By doing this project, did they reckon they'd show us they weren't in it for the money alone?

"I don't think anything like that was in our minds. There was never any talk of it coming out to begin with — it was just to be in there playing really, and I was quite prepared to leave it that way. Possibly to prove something to myself — that I could play with other musicians and enjoy it, and make something worthwhile."

If he's saying Queen hasn't been making anything worthwhile lately, there's a lot of people who couldn't agree more. Like Hot Space frinstance.

"There's a lot about Hot Space I didn't like. But at the same time," Brian covers himself, "it was probably, in retrospect, the right thing to do at the time, because we had to investigate all those different avenues and get all those bits of R&B influence out of our systems. No, part of the problem with us, the group, was we got so close to each other that familiarity breeds contempt, and we didn't like the way each other played anymore. That was one of the things that happened six months ago. And now, having got outside it and seen a lot of other people. I realize that the other three are pretty good. And I think they've had the same experience. We appreciate each other a bit more now. After this record I came back to the group much fresher. You get to understand how other people play, and you realize that everybody has their own style, and I found that I was a bit more patient with John and Roger and Freddie. Also what I got from stepping outside was realizing what other people think of us as individuals and as a group."

And did he kill himself? "Well, they thought we were pretty good — which surprised me!" He obviously didn't get to poll the people who dismiss Queen as a pretentious sort of band. Brian chuckles. And this Star Fleet Project has to be one of the most unpretentious records a superstar musician has ever made, casually put together and released without the usual sheen and polish a Queen album goes through before seeing the light of day.

"Well it is very different, and that's part of why it was a release for me. I wouldn't agree with you that Queen are pretentious, but I know what you mean. Queen are a group who've always been — everything has to be perfect before it gets out. It's worked on and worked on and argued about and talked about and torn to bits and put back together. We work to keep the spontaneity in there, but nevertheless it was nice in this case to do something which worked immediately, the adrenalin from the fact you'd never played with these people before, and everyone feeling good. I had no desire to interfere with it."

Has Queen lost its excitement? When you've got so many followers and so much success that you can even put out an album like Hot Space and it sells, when you can flash a credit card and get a record co. employee to go out and charge up anything your little heart desires, doesn't it all get a bit boring?

"It's funny you should say that because that never goes through my mind. I certainly don't feel we could do anything. For instance, last night at the party — I suppose everyone's very up about a new deal and a new album, but I was very depressed underneath it all really because what I think about is still the music. And we'd just had a play-back to the record company, and I was really desperately unhappy about the way it sounded. And I couldn't even think about we're a huge rock group, all the things you're saying. All I could think about was I'd hated what I'd heard and I was ashamed of it. I don't really think about what Queen looks like to the outside world very much. I think about what it feels like. It has had its good moments and I think we can play some good stuff; but it also has some really awful moments."

A lot of the Outside World who do think about Queen probably think it's Freddie's band. He thinks of a direction, everyone fights a bit, but generally follow meekly behind. True?

"It's a continual fight, because we all have very definite ideas of what direction we want to go in, and none of them are the same. It's a continual battle and it's very democratic and it's very painful. Most of the time when we're recording, it's hell. You have this constant dividing line between being up and positive about what you're doing, and the other side is that you may be trying to push what you want down someone else's throat, and maybe the other three will take it for a little while but in the end they'll say, 'No, this is rubbish, we hate it, stop pushing.' And that's what's happened a lot.

"I had a very clear idea in my head of what I wanted [the new Queen album] to be. It's an oversimplification, but I wanted it to be more of a rock album. But I obviously pushed too hard in the early days, and everyone got very angry with me and said 'Look, stop. Don't tell us what to play.' And then you take three steps back and try and work it out again. That's happened with all of us. We all feel that suddenly we can see a path ahead and the other three can't see it at all, and that makes it really hard.

"The plus of it is that after you've had your arguments and found an intermediate course at least you've already been through a vast political process, and the stuff which does come out has been through a gigantic sieve. So I think in the end you come out with stuff which is a real group product, and it's better than any of us could do as a solo artist. I honestly think that, and that's why I'm still in Queen. I think the group is still better than any of its component parts."

So is the next Queen album going to be a rock album? (Bumped into Roger Taylor at the party and he slurred that it was definitely "very heavy — one side of the album especially will definitely give you brain damage")

"So far," nods Brian, "I think, in spite of all the shouting, it is."

When a group member leaves the fold to do his first album, it's usually "OK, here I am. Me, the Star." But Star Fleet isn't a flashy guitar album or ego showcase. What gives?

"I don't think I am a flashy kind of person really. When I come to do a solo album — maybe one day I will — I've no idea what it will be like. This isn't it. This is just an event of some people having fun together, and that's the way it should be looked at. I don't know what is me, if that's what you're asking. That's one of the difficulties I've had in thinking about a solo album. Because on the one hand I would like to do all heavy stuff, because I don't feel I've got enough outlet for the heavy stuff in Queen; on the other hand I'd like to do some guitar arrangements and continue the guitar-orchestra direction, which again we've sort of left alone for a while in the group. Then again I like to sing songs that have a lot of personal feeling for me, which also sometimes doesn't fit into the group framework."

Hasn't he ever had the temptation to leap out onstage, push Freddie into the wings and grab the limelight, just once?

"No, I'm very happy with how it is. I get my bit to do. As you say, I can be flash for a while and then blend into the group, and I'm very content with that."

That's the one thing Brian and Eddie Van Halen have in common. They're both pretty low profile guitarists in bands with the most outrageously flashy frontmen on earth. Do they feel any kinship there?

"Yes, a lot. There are parallels, obviously. The whole business of what roles people play in groups is something which interests me very much for its own sake, because you do find that the bass player is always a certain kind, the guitarist is usually a certain kind of person. I don't know whether it's the selection process or whether it's an environmental change process [I forgot to mention; he has a degree in physics!] — you can see those elements in the component parts of groups. Guitarists do tend to be like that, people who feel they have a lot to say but don't really want to be in the center of the stage doing it; they want to be at the side doing their bit and enjoying it and getting into it and not having the responsibility for what the singer does."

And if you're expecting any guitar duels on this album, forget it. Instead of playing superstars, trying to outdo the last lick, they're like a couple of polite gentlemen going "After you"; "No, after you."

"I think we're very alike, and there's no feeling of competition there because we both love what the other person is doing. Particularly in my case. My first reaction to seeing Edward was I didn't want to play with him because he's so great. And then my second reaction was I wanted to pick up the guitar and play with him. Because we're so different in playing, but we're very alike in the way we think. There's no duel there, and I'm glad you said that because I was frightened people would think Guitar Battle kind of rubbish. Just people enjoying each other's company really. And it's not just me and Edward — it's me and Alan and Philip and Fred. We were all in there, and it was a good interaction all round.

"I still think, sometimes, am I being foolish putting this out? But then every time I listen to it I get this great feeling about it. It's so real and live and personal that I hope that other people will get that feeling about it."

With all the members of Queen going their separate ways, there's always the risk that they might forget to get back together again. Does Queen still feel like a real band?

"It does again now. There have been a few crises in our history, and one of them was about six months ago, when we could have easily said, 'Look, we hate each other, let's forget it.' And it almost was that. But instead we said 'look, we're all getting very intense with each other because we haven't had a break for ages, and we've been in this endless make-an-album-tour-the-world-make-an-album cycle; so let's get out of it for a while and maybe we'll appreciate each other.' And it's worked pretty well. We got back together and we feel like a real band again."

Retrieved from The Creem Archive

[kiwialbums]

A Night At The Opera - Queen

A Night At The Opera, originally released in 1975, is a classic and a staple point of rock-opera music. The album feels as though it seamlessly transitions through every song, and the majority of them being intentional.

I feel as though the placement of the songs is what makes it feel as though every song is connected. The only actual seamless-transition is that between “The Prophet’s Song” and “Love Of My Life”, however it feels to me as if every song is joined. Take “Lazing On A Sunday Afternoon” for example, the song ends with a brilliant solo by Brian, and then ends abruptly and then we are thrown into the rocky and upbeat song by Roger Taylor “I’m In Love With My Car”. I think the abrupt end into the aggressive start makes it feel as though the songs (or the whole album maybe) are connected slightly in some way by a story, but this is all up to interpretation.

Another thing the album does brilliantly is exploring new, ingenious recording ideas, ranging from vocalisations of a brass and woodwind instruments, to Brian perfectly nailing an impression of a jazz band through only guitar. The vocalisations of the brass and woodwind instruments on “Seaside Rendezvous” add to the joyful and jolly feeling I already get from the song, making it seem slightly comical and childish yet also being done so well it doesn’t take away from the song at all. And as for the jazz band recreated by Brian on guitar, I honestly can’t tell at times whether it truthfully was done on guitar or if we’re being messed with because it is done so well.

And of course where would this album be without Freddie’s vocals and song writing abilities. This album has some of the best songs ever created, and a song which many claim to be the best song ever, “Bohemian Rhapsody”. This song mixes genres into one song and honestly it’s hard to understand in which one to place it. It starts off with strong harmonies straight away, so full of range it’s hard to tell where your ears should actually be listening, it’s marvellous, then we get introduced to the infamous piano and melancholy vocals, leading us gradually into a guitar solo by Brian as the song is built up more, adding more instruments slowly to build up the tension to the climax of this part. And then we are brought back to the opera, with high, piercing harmonies responding to lines from Freddie, using Roger’s vocals range perfectly. And then we get to the heavy and upbeat rock section of the song, which somehow fits into the song perfectly, and then easily comes back to the slow, lonely piano and vocals from Freddie due to wonderful guitar by Brian. Then the song slowly gets less and less, until a final smash on a gong draws the masterpiece to a close.

Now, I haven’t mentioned John Deacon much, so now I shall. Deacon adds so much to this album, he’s as much of a perfect bass player as Paul McCartney, knowing exactly what is needed for each song; whether to sit back and relax or carry the song from underneath. In my favourite Queen song “‘39”, John follows the basics of bass, going back in time to simple roots and following the drums, which is perfect for what the song needs; carrying it slightly with the lone kick drum. On the contrary, John’s own composition by “You’re My Best Friend” scales from top to bottom of the fretboard, which is exactly what the song needed. I think Deacon was a perfect bassist for Queen and really knew what he was doing when it came to songwriting and playing his part.

Overall, I think this entire album is absolutely magnificent, and is well worth the listen if you haven’t, even the songs that some may consider filler and amazing to me and i enjoy every moment of this wonderful masterpiece, and this has rightfully gone down in history as one of the best albums ever made.

••• Some tags for growing •••

[twst-the-night-away]

🦁🐾Karaoke Night at Savanaclaw🐾🦁

Second post in a series of headcanons about the NRC dorm karaoke nights. Check out Heartslabyul's here.

Thanks to @twstinginthewind for input as always 💖

(Disclaimer: I know the songs and artists mentioned here wouldn’t actually exist in the TWST universe, but coming up with magical versions would be too much work, and my inner Floyd says nope, too hard. - Daisy)

🦁 There’s no scheduled karaoke night at Savanaclaw. You expect their housewarden to do something like that on a schedule? Hah. Usually, Leona either declares one out of nowhere because he’s in the mood for it, or someone else asks Ruggie to ask him to agree to one. He usually agrees, unless they’ve done another one recently. Too much of it and he gets tired.

🐾 When the karaoke machine is brought out, there’s a big rush for it as students try to get their requests in. Because of this, not everybody gets to sing the song they want. You’ve gotta be quick if you want to sing. Friends will often go in together and pick a song they all know, and whoever gets to the machine first puts the request in.

🦁 If you bribe him, Ruggie will put your song in for you, as he can get to the machine pretty quickly and most of the students let the vice housewarden get through.

🐾 The first time Jack experienced the rush for the karaoke machine, he thought an actual brawl was happening, and he tried to step in and stop it.

🦁 The main rule of karaoke night at Savanaclaw is: pick something good. Not necessarily a song you can sing well - a lot of these jocks really can’t, let’s be honest. They want songs that get the whole crowd fired up. Because of that, you’ll find lots of rock anthems, jock jams, and other songs that everyone can sing along to.

🐾 Savanaclaw is not a place for personal showboating or trying out something new. This is where you want to do stuff like Tubthumping, Don’t Stop Believing, Fight For Your Right, We Will Rock You, and so on. A few more mellow songs like Africa and Sweet Caroline are appreciated, because everyone knows them and wants to sing along. If you’re lucky, you’ll even get to see them do the YMCA. And you’d better believe they go absolutely feral (ha ha) for Bohemian Rhapsody - so much that they usually save that one for the end.

🦁 Speaking of the latter, Leona often likes to do his trademark “single calculated moment of awesomeness” move during the metal part of that song. There’s an understanding that if you’re singing that song and that part’s coming up, you check first to make sure he isn’t approaching the stage. If he is, you give him the mic and get out of the way.

🐾 Other than that, Leona doesn’t sing much, but he is the one with the remote to the machine, and he will cut you off if your song sucks or if you’re boring him. If he thinks you’re good, he might ask you to sing again.

🦁 Ruggie might not have the pipes for hard rock, but he’s great at rapping, so everybody wants to hear him do at least one song. (That’s another reason he can get to the machine so easily.) He goes super fast, effortlessly cutting through high-speed tongue-twisting lyrics, leaving everyone awed and getting them hype. He’s great at freestyle, too, if he loses his place in the lyrics.

🐾 Jack’s a little self-conscious about his singing, so he didn’t put in any requests during his first experience with karaoke at the dorm. However, as he watched how things worked and saw how the crowd responded more to energy than talent, he felt a little better about it. He’s never missed one since.

🦁 Don’t ever sing Who Let the Dogs Out? They don’t find it very funny.