Home Random Page


CATEGORIES:

BiologyChemistryConstructionCultureEcologyEconomyElectronicsFinanceGeographyHistoryInformaticsLawMathematicsMechanicsMedicineOtherPedagogyPhilosophyPhysicsPolicyPsychologySociologySportTourism






THE GREAT PRETENDER

"I often wonder what my mother must think when she sees way out pictures of me on stage in all that regalia and make up. But like my father, she doesn't ask any questions."

My responsibility to the audience is to put on a good show and make sure they get good, strong entertainment from Queen, and that's that. I have to make sure that I win them over and make them feel that they've had a good time - otherwise it's not a successful gig. I like people to go away from 041 shows feeling fully entertained, having had a good time. I know it's a cliche in say "Oh, you have them eating out of the palm of your hand," but I just fefl that the quicker I do that, the better, because it's all to do with me feeling in control. Then I know that it's all going well.

People want to be entertained in various ways, but the one way I know they don't want to be entertained, is by people who just come on and casually play their songs. That's not us. They can hear that on the records. For us, the strength is in four musicians trying to entertain you. I like to feel that (in songs can take on different shapes depending on what we want to give you. Something like Love Of My Life is totally transformed from what you hear on the album. It just depends on how we feel when we play them. Besides, can you imagine doing the sort of things we've written, like Rhapsody and Somebody To Love, in jeans and t-shirts, with absolutely no presentation? It would never work.

Some bands use packing tapes, but for us trying to mime to tapes just doesn't work. That's not what we're all about and we're the first people to say that if we can't do a number from a record on stage, then we'll forget doing it all together. We don't cheat with tapes, and as far as Bohemian Rhapsody is concerned, there was a natural progression there. In the beginning we felt that we were not going to be able to do it on stage, so we just did a few sections of it as part of the medley. Then we were in Boston once and I said, "Why don't we try to do Rhapsody as a whole. It's not like we're out there playing our instruments and trying to mime to it." So we tried it a couple of times and I think it's very effective. Now we do it all the time.

I would say songs like Rhapsody and Somebody To Love are big production numbers - very, very vocal-orientated, which is a very heavy aspect of Queen. That's why Somebody To Love is a killer to do live. I tell you, that is very nerve-racking, and the first time we did that song we did it to fast because we just wanted to get it over with. Those kinds of songs have to be arranged differently. I mean how could you recreate a 160-piece gospel choir on stage? You can't. It's impossible.

As far as I know, a lot of the people who buy our records are intelligent enough to realise that all the vocals are just the four of us. Therefore they know that we cannot possibly recreate that on stage, no matter how hard we try. As long as the atmosphere of the song is put across on stage that's what’s more important as far as I'm concerned.



II our songs take on a different shape when we do them on stage. A lot of the things we do evolve naturally. It's much better to try and find out what’s the best way to do a song, than have preconceived ideas of anything. Otherwise, songs like Crazy Little Thing Called Love would never happen.

People try different things, and using a lot of visual theatrics has always been there. All the greatest acts have used them at some time, like Jimi Hendrix and the Stones. It has to be there. Personally I love it because I hate just sitting down, but there to ling. I like to sort of ham it up, and really perform a song. I like to move, and there is a different aggression in each song, so I like to show it. I mean most songs can be performed by somebody just sitting down, but they wouldn’t have the same effect or impact. If that were the case we might as well have had cardboard cut-outs of us on stage and just play the album through the PA system.

The thought of doing more lavish stage type things does appeal to me. I like that approach to entertainment and I like that whole cabaret sort of thing. I adore Liza Minnelli -1 think she's a wow. But somehow I have to combine it with the group, not divorce from it. That's the difficult thing. We are a bit flashy, but I also think we're sophisticated. It's not glam rock, we're in the

show-business tradition.

In the very early days we just wore black on stage, which was very bold. Then we introduced white, for variety, and it simply grew and grew. I dress to kill, but tastefully, and I have fun with my clothes on stage. It's not just a concert you're seeing, it's a fashion show too. I love to change clothes on stage and that's all part of the theatrics. I come on stage after Brian's guitar solo and people know that something is going to happen.

It's just a form of growing up. You get bored of wearing the same costumes and having the same look. I love dressing up anyway. I went from a balletic look to a sort of heavy leather image. The leather influence came from visiting a number of bars in Germany - and, of course, I wear it with panache.

I like leather. I rather fancy myself as a black panther.

In the end we know that the songs speak for themselves and if you had ii really crappy song it wouldn't make it sound better just because you were wearing wonderful clothes. I've always thought, "My God! Don't take yourself so seriously." And the first way to do it is to put on a ridiculous costume. Wearing ballet slippers and tights on stage, that's tongue-in-cheek. It was just something that interested me at that point in time. I tried to incorporate it into the stage act, to enhance the music that we played, but \f it wasn't working then I wouldn't do it. Besides, I liked the Nijinsky costume. As far as we're concerned, we're putting on a show and it'» not just a

rendition of an album.

We're rock' n 'rollers at heart, but presentation is so important and it's something that a lot of groups miss out on. Our act has changed, grown and matured with each tour we've done. We're visually a very exciting band to watch. Our whole set-up is fantastic, and we come on and let it rip. Each new number needs to be expressed visually as well as musically, and we couldn't bear the show to be the same every time. We don't want a lot of props on stage, although we do have a bit of dry ice and throw the odd flower. By the way, we don't use steam. One journalist in New York said we used steam, and I had visions of us all boiling kettles backstage.

We think a show should be a spectacle and we've been slagged off in the press for our flamboyant stage show. But that's the whole point. We want to put on a show so we have a barrage of lights and a very complex sound system. But it's all geared to make the music better. People see photographs of Us all dressed up and think, "Oh, it's just glam rock!" I feel sorry for people like that because if they had done a bit of homework they would find out what we're really about.

Sometimes on stage I'm very near the mark, aren't I? But I have learned to do those kind of things with an air of tongue-in-cheek, where I actually ridicule myself, and the audiences have come to accept it. I mean, who'd get away with coming up to the front rows of the audience and throwing water in their faces, and things like that? If I was totally serious about it then obviously it would turn sour. But, it's fun really. The one thing that keeps me going is that 1 like to laugh at myself. If we were a different kind of band, with messages and political themes, then it would be totally different. That's ' why I can wear ridiculous shorts and ham it up with semi-Gestapo salutes. It's all kitsch. Not everybody realises that.

Once we played a theatre in New York with Mott the Hoople and this particular person wrote that she noticed when I did a costume change, that I changed even my shoes and socks. She also added that she was so close to me she could tell what religion I was, and that I wasn't wearing any knickers! This journalists notice everything down to the pimple on your arse. By the way, there’s no coke bottle stuffed down there, my dears. My hose is my own… It’s all mine!

I feel incredibly strong on stage and I'm completely immersed in the music. It is awe-inspiring and mind-boggling to be up there with all those people in the palm of your hand. But it never occurs to me that I might have the power to spread political statements among the people. I'm not the Messiah or anything - I don't want to preach to them. No way. I don't want to get bogged down giving them speeches.

In less sensible hands that power could be dodgy. I could cause a riot if I wanted to. You suddenly think, "I've got all this power. I can destroy!" The adrenalin's there, you feel like the devil and it's wonderful, absolutely wonderful. But I know in myself that I would never misuse it. I don't go on stage every night thinking, "Wow! I've got that power." I'm too wonderful for that, darlings!

Sometimes I feel that I could be the Pied Piper of Hamelin, but I wouldn't like to think that people are that stupid. I don't think anybody would follow me to the river... I'd have to drag the buggers. My job is not to teach them, my job is to make music. I don't want to change their lives over night, I don't want to involve the audience in peace messages or anything like that. It's escapism, and I want them to enjoy my music for that period of time and when they don't like it they can just discard the damn stuff in the dustbin. I feel like I'm the master of ceremonies, and that's as far as I like to go because they've come to enjoy themselves and that's all. Entertainment is the key factor as far as I'm concerned, and no way would I like to feel that I'm •

kind of political spokesman.

I'm just very frivolous and I like to enjoy myself, and what better way 10 do it than on stage in front of 300,000 people? I just cook on stage! To ÂÈ, playing in front of a big crowd - that kind of surge - is unequalled. The feeling I get from the audience is greater than sex. I love the excitement of It and I always feel that I want more - more more more. I'm just a munlcti tart! That's my nature, but that's not what I'm like in real life. When I come off stage it takes me hours to unwind and transform back into my real self.

My character is built up of all kinds of ingredients and the Freddie on stage is just one element of me.

Sometimes I feel really evil when I come on stage. When I'm out there I'm in a world of my own. I go up there and have a good time. It's the audience participation that counts, and sometimes I feel I could go into the audience and have a rave - just Freddie Mercury poncing about and having a good time.

I'm so powerful on stage that I seem to have created a monster. When I'm performing I'm an extrovert, yet inside I'm a completely different man. On stage I'm a big macho, sexual object and I'm very arrogant, so most people dismiss me because of that. But I'm not like that really. They don't know what I'm really like underneath. People think I'm an ogre. Some girls hissed at me in the street once, saying, "You devil!" They think I'm really nasty, but that's only on stage. Off stage? Well I'm certainly not an ogre. Of course the stagey streak in me where I love to jump around and be volatile is real, but people don't realise there's a lot more. They expect me to be the same in my personal life as well. They say, "Come on Freddie, perform. Give us some excitement."

People seem to think that just because I go tearing around on stage, I should 11 Þ go tearing around in life. But I don't. This thing about me living a life of excess is so blown out of proportion. I basically have a life of just above the norm, but I'm not at total fever-pitch all the time. I'm not living a kamikaze life. I'm flamboyant, I have a very high energy level and I just like to do things very fast at all times. I can go without sleep for long periods, that's my nature. ' >u see because of my persona on stage, people think that I carry on that way off stage. If I did, I would have been dead a long time ago.

I don’'t want people to say that they've seen me on the streets and I act the I Way. No no no, they've got to see that a person can change. That's the talent within. That's what makes you something special. You can't portray the same elements that you do on stage, at home in your kitchen, in your household. You have to become a different person so that you can build up to that stage persona, so that it becomes special. Otherwise it would make no difference you coming out of your house and going on stage.

The days are gone when I feel I have to portray that Freddie Mercury image when I’m off stage because of other people's expectations. I found out that you can become a very lonely person if you have to do that, so I'm not afraid to come off stage and actually be myself - which can be very boring and mundane for some people. I'm a jeans and t-shirt man around the house. In fact, when a lot of people meet me they can become very disillusioned because they expect me to be exactly like I am on stage. But I'm a human being and I would like people to realise that I'm bad and good like everybody else. I have the same feelings and the same sort of destructive qualities, and I think people should allow me that freedom. I'd like to feel that I'm being my honest self and I don't give a shit about what other people say.

I want people to work out their own interpretation of me and my image. I don't want to have to say, "This is what I am." I think mystique, not knowing the truth about someone, is very appealing, and the last thing I want to do is give people an idea of who I actually am. That's why I play on the bisexual thing, because it's something else - it's fun.

Of course I'm outrageous, camp, theatrical and dramatic, but I haven't chosen that image. I am myself, and in fact half the time I let the wind take me. I'd have been doing myself an injustice if I didn't wear make-up because some people think it's wrong. Even to talk of being gay used to be obnoxious and unheard of, but those days are gone. There's a lot of freedom now and you can put yourself across in a way you want to.

I always want to play to as many people as possible. The bigger the better! I think everybody that wants to be successful and is successful wants to play to the biggest audiences and I'm not afraid to speak out and admit that, I want to reach as many people as I can, and the more the merrier. As far ai I'm concerned I'd like the whole world to listen to my music and I'd Ilkr everybody to listen to me and look at me when I'm playing on stage.

Being the support act was one of the most traumatic experience» of my life. When you support another artist on tour there are so many restrinctions. You don't get your own light show, your playing time, your effect». There's no way you can show the public what you can do unless you headline and yon know the people have come to see you.

The first time we went to America was as support to Mott The Hoople, and it acted as a 'breaking-the-ice' tour. We got a taste of America and so we knew what would be needed the next time we went. We believed it was the music and not gimmicks, and we felt our music had something sufficiently different about it - some originality and versatility. Our record company in America [Elektra] weren't billing us as the 'Next Big Thing'. They said, "Have a listen to this. This is British rock in the royal tradition."

We had a few setbacks. We were there to follow up the Queen II album which had taken off, but at the height of the tour Brian fell ill with Hepatitis. He actually had the illness for about six years without knowing. Anyway, the cancellation of the tour was a shock and we thought it was a big loss. Yet we still managed to do a month, and if we hadn't gone at all they'd have probably thought we never existed. Of course, a whole tour would have helped us a bit more, but we never thought we had 'lost our chance.' We knew that the time was right for us there and that we'd go back pretty soon. You should have seen the write-ups; they were beautiful, and they just wanted us to come back as soon as we could.

I he next year, when we had finished the European tour, we went back to America, which was quite a bash. It was for two months and that's when I came a cropper. I had voice trouble and I thought it was just a sore throat. It really started hurting, especially after we did six shows in four nights. But these horrible nodules had begun to form on my vocal chords. I went to see specialists and they were talking about an operation. They were going to I me lazer-beam treatment where they just singe them off. But they didn't know about the after-effects, which could have been dangerous. In the end they told me I'd have to stop singing or I'd have no voice left at all. That really frightened me so we had to cancel quite a lot of shows.

In America we seemed dogged by bad luck. On tour there in 1975 a young American tart got into my hotel room and pilfered my jewels and bracelets. She was just evacuating the room when I accosted her by the elevator. I pulled her by the hair, drugged her back into the room, emptied the contents of her and everything but the kitchen link came out. I retrieved my things and said: “Get out, you Seattle slagbag!"

((Èíòåðåñíî, èç êàêîãî òàáëîèäà îíè ýòî ïîçàèìñòâîâàëè? Ñëó÷àéíî íå ïåðåâåëè èíòåðâüþ Êèðêîðîâà èç Ýêñïðåññ-ãàçåòû?)

A year later my very promising pop career nearly came to an untimely end. Two young girls outside the theatre decided to claim my scarf as a souvenir. They quite forgot it was wrapped around my neck at the time and nearly strangled me. I'm sure Her Majesty doesn't have to put up with that sort of thing, but then she never had anything in the charts did she?

I always loved touring in Japan, particularly with all those geisha girls - and boys. I loved it there, the life style, the art. Wonderful! I'd go back tomorrow if I could. We knew it was going to be really exciting as soon as we landed. As we walked into the airport building, we couldn't believe our ears. They had stopped all flight announcements and were playing our music instead. It's an incredible feeling to step into a country already filled with fans, and we all hoped we could live up to it.

At the time Queen II was the LP of the year, and the hysteria started the moment we got there; riots at the airport, bodyguards, just like the old Beatle days. The organization was spellbinding, and we loved every minute of it. We needed protection because you couldn't go down into the lobby of the hotel as it was infested by really nice people waiting for autographs. We each had a personal bodyguard and mine was called Hitami. He was the head of the Tokyo bodyguard patrol, and his entire job was to pamper and cosset me throughout the tour and make sure no harm came to my person. He was very sweet and gave me a lovely Japanese lantern, which I treasure.

We also went to a tea ceremony, like the one the Queen went to, and I remembered how she pulled a face after two sips. Basically, it's a thick green liquid and it's bitter as hell! You're supposed to finish it in three sip». Afterwards we went to a reception and all the top Japanese businessmen were there, as well as the British ambassador and his wife. She told us, "We went to see Led Zeppelin, but he was so loud!"

At the concerts I couldn't believe the crowds, all milling about, swaying èìè singing. We've been very lucky that everywhere we've been there has been a very similar kind of reception - where the audience get very in-tune in terms of how to participate. Later, wherever we did Love Of My Life they instinctively knew that they had to sing it. It’s amazing to watch. I didn't have to tell them, they just automatically knew their role. I like an audience to respond like that. Maybe we'd like them to sit down and listen to some of the songs sometimes, but I get a lot more from them when they're going wild, and it brings the best out of me.

Yes it was a heavy tour, but it put us in a different bracket over night. It's a tour we had to do and it meant after we'd done it we could do the next British tour on our own terms, exactly how we liked. To start with we were booked in well beforehand at semi-big venues, but by the time we came to doing them we had the new album out and we got a bit of TV exposure and everything escalated. I think if we'd waited we could have done all the big venues - it was just a matter of timing. But I'm glad we did the tour when we did, even though there was a lot of physical and mental strain.

It's great being on tour and getting on that stage in front of a collection of people who have never seen you before. You have to start from scratch and you're playing every song like it's a new piece, and it's lovely. You also have to use all your old tricks because we're always interested in creating a reaction amongst those who come and see us. I am over the top and there are things in my stage act that I know will get a certain reaction. I was once thinking of

being carried on stage by Nubian slaves and being fanned by them. I was going to audition them and personally select the winners. But where to find Nubian slave?

Basically, people want art, they want showbiz, and they want to see you h off in your limousine. That's why we view albums and concerts as two different spheres of work. There's a different feel in the studio as compared to you're on stage and when we're up there before an audience where we really let loose. We set ourselves a very high standard and 99 per cent of the audience wouldn't agree with our assessment of a gig. We all scream and shout at each other and destroy the dressing room and release our energy. We end up rowing about everything, even about the air we breathe. We're always in each other's throats. One night Roger was in a foul mood and he threw entire bloody drum set across the stage. The thing only just missed me – I might have been killed. Another time Roger accidentally squirted Brian in the face with his hairspray in a tiny, streaming dressing room and they nearly came to blows. It was all good fun though!

I think Queen had really developed its own identity by this point. America saw that we were good, and so did Japan, and we were the biggest group in Japan. I don't mind saying that. We could outdo anybody because we'd just done it on our own musical terms. We knew if we just did something that's harmonised we'd be called the Beach Boys, and if we did something that's heavy we'd be Led Zeppelin again. Instead we always liked to confuse people and prove we're not really like anyone else. If anything, we have more in common with Liza Minnelli than Led Zeppelin. We're more in the showbiz tradition than the rock'n'roll tradition. We had an identity of our own because we combined all those things that define Queen. That's what people didn't seem to realise.

We were learning all the time, and you're only as good as your last performance. We all wanted perfection and to make our show more polished. It doesn't always work out like that though. Many is the time I dashed off stage for a costume change and heard Brian finish his guitar solo abruptly, while I'm still putting my trousers on, so I had to rush back on stage half-undressed. I was caught out quite a few times like that.

We felt that as long as we had a sense of achievement and that we were breaking new ground, we were happy and ought to continue. They wouldn't let us into Russia mind you, they thought we'd corrupt the youth or something. We wanted to play where rock music had never been played before. It was for that reason we went to Latin America [1981] and in the end we opened South America to the rest of the world. If you crack it there, the amount of money you make can be tremendous.

We went to South America originally because we were invited down. They wanted four wholesome lads to play some nice music. By the end of it I wanted to buy up the entire continent and install myself as President. The idea to do a big South American tour had been in our minds for a long time, But Queen on the road is not just the band, it involves a vast number of people and costs a lot of money for us to tour. In the end we mid, "Fuck the cost, darlings, let's live è little!"

I knew a lot about Argentina, but I never imagined that we were so well known there. I was amazed by the nation's reaction to our being there. We were all terribly nervous because we had no right to automatically expect the works from an alien territory. I don't think they'd ever seen such an ambitious show, with all the lighting and effects we use.

A whole lot of journalists came from all over the world to see us play in Argentina and Brazil. In Sao Paulo we played to 120,000 one night and 130,000 the next night. It had never been done before, and it was all very new to them. They were worried that with such a vast audience it might become political, and they pleaded with me not to sing Don't Cry For Me Argentina. They had the Death Squad there to protect us, the heavy, heavy police who actually kill people at the drop of a hat, in case the crowd became unruly. And before we came on stage the whole military was up front with bayonets.

We were actually taken from one place to another in armoured vehicles that were usually used for riots. My dears, it was the most exciting bit of all. There Were six motorcycle police roaring in front of us, ducking and weaving in and out of the crowds and traffic just like a display team. The van had holes in the side for the police to stick their guns through; and there we were, screaming 111 it of the stadium in the most dramatic way. It was fantastic.

Rio, in 1985, was wonderful. It was mind-boggling to be up there with all Ble people in the palm of your hand. During Love Of My Life I stood there blinking away like mad and swallowing hard, with the same feeling that I Last Night Of The Proms gives me. The sunshine makes such a difference and people are allowed to flower there. They were a wonderful audience

II loved their displays of emotion.

They get over excited sometimes and there was a bit of trouble when a fight between some of the crowd and a cameraman broke out. It was during I (u Break Free, because in the video for that song we had all 'dragged up. So I came on stage with false boobs under my vest, and a vacuum cleaner, to bring that image back, and they went a bit mad. At first I thought my boobs were too big for them. The trouble was when I first tried them, in Brussels, at the start of the tour, some people who work for me said that at the back of the arena you really couldn't see them - unless they're twice the size of Dolly Parton. So I had to get some bigger tits. I don't know why they got so excited about me dressing as a woman; there were lots of transvestites there - just go and look on any street corner and you'll find them.

I certainly didn't go on dressed like that to provoke them and I may have been stoned like the Queen of Sheba, but I wasn't giving up my boobs for anyone!

I was the one who wanted to stop touring and change the cycle that we'd been going through for so long. If we carried on touring I wanted to do it for totally different reasons, I'd had enough of those bombastic lights and staging effects. I didn't think at my age that I should be running around in a leotard any more. I tell you, I felt the after-effects of touring, it was as if I'd done a marathon every night. I had bruises everywhere.

So before we started the Magic tour [1986], I was actually quite worried because I knew my own limitations and I thought the audience was going to expect me to do the same kind of thing I'd always done. I thought, "My God! I have to go through all that again." And once you're on tour you can't make any excuses. It's not like the early days when I could do anything because 1 always knew that I could get away with it. Now everyone's watching.

I've put on a little podge, a little bit of middle-age spread, and the moment they see a little bit of that they're going to start calling me 'Fatty Mercury'. 1 had to think about all that and make sure that I was perfectly fit. But even then no matter how much you do beforehand, you only know if it's going to work the moment you do the first show, and by then it's too late because th» whole tour's already been planned, and venues booked.

We've always thought if we weren't able to put on the kind of show we wanted, then it wasn't worth doing. I hate this process of doing a show and making excuses afterwards. That's bullshit. Once you do a show you've got to stick by it.

I was really worried because my voice takes a beating. The more vocals gymnastics I do in the studio, the more I have to do on stage, because if I didn't, people would say, "Oh, he can only do it because he's got the studio," and I hate all that.

I like to have the freedom of the stage and run around a bit, but when I saw the stage designs for the Magic tour I thought, "Oh my god! What am I going to do? I'll need roller skates to go from one side to the other." I didn't want to let anyone down, so at first I just didn't want to do the tour. But I think it's all in the mind. Even though I thought I should go and do all this training, in the end I just thought, "Oh fuck it! I'll just will myself into it." So I did a few press-ups and although the first three or four shows were agony, my muscles started working and after that and it was fine. I'm glad I did that tour because it was one of the most successful tours that we'd ever done and I'm glad I took the plunge.

My voice has been giving me problems since the first years of touring, because we used to do really extensive tours and sometimes even matinees. Can you imagine me doing a matinee, dears? I ended up getting nodules, uncouth calluses growing in my throat, and from time to time they harmed my vocal dexterity. It's misusing the voice that does it and once you get nndules they are always there, and they always come back.

There was one instance, a show in Zurich, I think, where I actually dried up on stage. I thought, "My God what am I going to do?" I could hardly speak, nothing came out and it was just an awful feeling. Normally I can fake it, but you can only fake it to a certain degree and after that it becomes ridiculous. So I just said, "Fuck this!" and walked off leaving the other three I the let, I'd never let my public down in that way before. Some way or other I've always gotten past that stage and finished an entire show. But I had to do it, and I was really pissed off. Ever since that happened it's been a recurring nightmare for me. If it happened once it could happen again.

Sometimes with dry ice, the heat from the lights doesn't allow it to rise, and I have to thing through a fog. It'’s just the hazards of being on the road but it's so frustrating you went to make those high notes. Instead you're in an octave lower because you don't want to chance it, and croak.

There were a few phrases where I opened my mouth and nothing came out. The others were very sympathetic, but I mean what can they do? They can't scream and shout at me and say, "You have to have a voice." They helped me a lot. Sometimes when I came to a high note I just opened my mouth and Roger sang it. Roger sings very well and Brian does too. They were my crutches when I needed them.

My nodules are still with me so I have to go easy on the red wine, and to warm up I do what I call 'mock operatics.' I do it naked, though, because there's a certain piquancy about that. With clothes on, it doesn't work, so I sing in the complete raw.

I went to throat specialists, I think I saw them all, but they always tell you to just rest and not do the tour or have an operation. I came very near to having an operation but I didn't like the look of the doctor and I was a bit perturbed about having strange instruments forced down my throat.

I always get depressed and upset when a tour stops. Suddenly you're back home and you have to will yourself back into the pace. You have to make your own cup of tea again and I'm used to being pampered and cosseted, my dears.

In the end I want people to see me as somebody who sings his songs well and performs them properly. I like people to go away from a Queen show feeling fully entertained, having had a good time. They are pure escapism, like going to see a good film. After that, everyone can go away and say that WM great, and go back to their problems.

 

Chapter four


Date: 2015-02-03; view: 1514


<== previous page | next page ==>
Playing My Role In History | THE MASTERSTROKE
doclecture.net - lectures - 2014-2024 year. Copyright infringement or personal data (0.012 sec.)