Composers-Writers
Many prominent composers possessed an extraordinary literary gift. In their literary heritage: musical journalism and criticism, musicology, musical and aesthetic works, reviews, articles and much more. Often, musical geniuses were…

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Vocal and singing How to learn to sing high notes
High notes can be difficult for beginner vocalists, and more so for those who did not sing in the choir during their childhood. You can learn to sing them correctly…

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Black and White: New Piano Classics
A rich instrument, practically an entire orchestra. This is about the piano. Seven octaves - what chords you want to build. But sometimes even one crystal-tinkling note in silence is…

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“He boasted of what we are treating today”: Alexey Vasiliev – about Freddie Mercury

September 5, 2019 Freddie Mercury would have turned 73 years old. A brilliant connoisseur of pop culture, Alexei Vasilyev, explains how the death of vocalist Queen became the death of the main idea of ​​the 20th century, when the artist is torn and dies on stage.
Among the many wonders of YouTube, the source of a separate joy is the chubby, round one, what to put – what to put, the bald Japanese, who kills his fats in tights, crawls onto the stage, revealing his ass and sticking out his stomach, and votes in his native language. This is the frontman of one of the Japanese tribute groups Queen. They give concerts and release discs, report on them, call on television. You can die with laughter for a long time until you run into the clip of the original, British Queen – even there is a funnier guy for this Japanese: the very smart Freddie Mercury.

A Zanzibar man with eyes let down for greater burning stiffness, also, by the way, balding, also with fat, treacherously running on his belt, when he, puffed up to stay without a top, sits down at the piano. She dresses up in a mustache, an alcoholic, and Camden plumbing training and sings hymns for all occasions: “Friends Will Be Friends”, “We Are the Champions”, “We Will Rock You”, “I Want to Break Free”. Each time the music is such that it is just right to call the cones from the Olympic Committee and hand out medals. Golosina strives to climb the deepest note, after which there is no choice – just blow up a cracker, pour champagne, drink and take a picture.

The film-concert “The Magic of Queen in Budapest” (1986), which not only in the midst of perestroika launched the Freddy cake in the face of Soviet youth, but is also revered by experts for the ideal film document of Mercury at its peak, begins to end from the middle, therefore that in Queen’s repertoire, half of the songs draw on fanfare and a closing number. We have long lost the habit of such an airless crescendo. The end of the film is like a window flung open in a gas chamber: thank God it was only the 20th century. A painful but useful reminder of the psychological hell that was forever left behind. We don’t need to prove anything else and it’s not going to pretend to be anyone who you are: gay, a Zanzibar man, a plumber – it’s fun and, in principle, anyway.

The film from the past Venetian program “Equals” shows the world of the future, in which there were people who wanted to live according to the laws of the twentieth century. They are called “defects.” Defects come together in groups and form families to lower what they call anxiety.

XX century: a person climbs onto the stage and turns his inadequacy into a show when reality rejects it. In the arena of the stadium, he presents it as a triumph. Hymnose-like chants, hypnotic speeches allow other inadequacies in the stands to feel the power of their energy suppressed by society and experience the intoxication of a new community that is being formed here and now. So it was with Mercury. Someone took places in the Central Park in the morning to hear Barbra Streisand in the evening. Someone rushed to the Woodstock. Others – in the “Luzhniki” on Pugacheva.
Stadiums are a fact of the past. They attracted those who were recognized as a defect. To  a gathering place for people with a violation of self-realization, it is enough to evaluate the plastic and speech of those who assembled stadiums – both will be contradictory, there is always a gap between intention and embodiment. Mercury makes an aggressive attack with his foot in the hall – but begins it from the first ballet position. He spins like an athlete, but his plastic shows an admirer of musicals, who repeats on-screen dancers under the influence of enthusiasm for what he saw, without any knowledge of technique. His rock is too sugary. “Who Wants to Live Forever” begins word for word as “Somewhere” from West Side Story, only “yes” is changed to “no”. He begins to sing “Hammer to Fall” – such music and even arrangement was already in ABBA, remember “Does Your Mother Know?”.

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