Sunday, 13 January 2019

The £40m Freddie Mercury prize:Mary Austin

The £40m Freddie Mercury prize: Queen frontman's ex-fiancĂ©e, 67, who still lives in the singer's £20m home is set for a huge windfall from Bohemian Rhapsody film that took the Golden Globes by storm

  • Mary Austin, now 67, met Freddie Mercury when she was 19-years-old 
  • They moved in together before he rose to fame with Queen and were engaged
  • Their engagement ended when Freddie told her he was actually gay
  • After his death in 1991 he left her 50 per cent of his future earnings
https://www.dailymail.co.uk/news/article-6582999/The-40m-Freddie-Mercury-prize-Superstars-ex-fiancee-set-huge-windfall.html?fbclid=IwAR1wDR1-bdzdey2C5bvT4gRWY1tIBVEAbCiJRO49o8hT6DK71b3SMSjyHUg


It was panned by critics, but Bohemian Rhapsody won best film at the Golden Globes on Sunday and has made almost £600million at the box office.

Now the huge success of the movie about the band Queen will see Mary Austin, the former fiancee of lead singer Freddie Mercury, scoop around £40million in royalties.

She met Mercury in 1970 when she was a 19-year-old art student and they moved in together before he was famous. Although their engagement ended when he told her he was gay, the pair remained remarkably close for the rest of his life.

And after his death in 1991 he left her 50 per cent of his future earnings. A further 25 per cent went to his parents and 25 per cent to his sister.


Freddie Mercury (left) and Mary Austin (right) at Freddie Mercury's 38th birthday party 



Mary Austin (left) and Freddie Mercury (right) met when Mary Austin was 19-years-old

Miss Austin’s share increased to 75 per cent after the death of Mercury’s parents. He had also left her his 28- room £20million west London mansion, as well as the bulk of his £9million fortune – including his art collection and Louis XV furniture.

According to financial records, future earnings of Queen are split four ways between the Freddie Mercury estate and his three surviving bandmates – guitarist Brian May, drummer Roger Taylor and bassist John Deacon. It means that Miss Austin receives around 19 per cent.

Miss Austin, 67, is understood to have little to do with May, Taylor or Deacon and is not thought to have had any involvement in the production of the film Bohemian Rhapsody, in which she is played by actress Lucy Boynton.


Lucy Boynton (left) played Mary Austin in the Bohemian Rhapsody film and Rami Malek (right) played Freddie Mercury

The Queen song the film is named after has been downloaded 1.6billion times around the world.

But when the movie was released in October it was mocked by critics, with comments including ‘Freddie Mercury biopic bites the dust’, ‘this karaoke-style paean is all style, no soul’ and ‘strung together with join-the-dots plotting’.



Mary Austin (pictured above) has kept a low profile since the movie was released

Against the odds, however, the film was named best motion picture at the Golden Globes on Sunday, while Rami Malek won the award for best actor for his portrayal of Mercury.

The film, which cost £40million to make, has earned £580million around the world. It is now a major contender for success at the Oscars next month.

Miss Austin has kept away from the bright lights, choosing to live a quiet life in Mercury’s former home. She is occasionally spotted popping to the shops in trainers and sports clothing.

In a rare interview six years ago, she admitted that inheriting Mercury’s fortune was a burden which had caused ‘bitter resentment’, not least among the surviving band members.

She also recounted the moment he told her he was gay after six years together. Miss Austin recalled: ‘He said, “I think I am bisexual”, I told him, “I think you’re gay”. And nothing else was said. We just hugged.’

Swearing he still loved and needed her, he pleaded with her to remain his closest companion, and installed her in a flat near his home. Close friends say she became a sort of surrogate mother to him for the rest of his life and nursed him before he died from Aids.

Mercury once said: ‘I couldn’t fall in love with a man the same way as I have with Mary.’ Miss Austin has two adult sons by painter Piers Cameron and was married to businessman Nick Holford, but both relationships were shortlived.


Mary Austin (left) and Freddie Mercury (right) pictured smiling at his 38th birthday party

It appears she found it difficult to find anyone to live up to Mercury.

His surviving bandmates are each expected to receive at least £63million from the movie, though this could rise to nearer £70million.

The trio are already vastly wealthy.

The 2018 Sunday Times Rich List valued May’s fortune at £135million, Taylor’s at £130million and Deacon’s at £105million. This will rocket when they receive royalties from the blockbuster.

A film insider said: ‘They will be massively in profit. Because Queen Films made the film they are quite high up the waterfall of money that cascades down from the film.

‘This film was created and managed by Queen, which means they can protect their share. I would expect the studio to get around 50 per cent and the rest to go to the surviving Queen members and the Freddie Mercury estate.’

A spokesman for Queen declined to comment. Miss Austin did not respond to requests for comment.

Thursday, 10 January 2019

Not so bohemian now! Ex-Queen bassist John Deacon

Not so bohemian now! Ex-Queen bassist John Deacon is worth £105m, but he's been a recluse for 30 years living a life of blissful suburban retirement where it's golf and anonymity that now rock his world

John Deacon, the 'lost' member of Queen, is reportedly worth £105million 

The band were devastated at the loss of frontman Freddie Mercury in 1991 

Since then, Brian May and Roger Taylor have continued to perform as Queen

But Deacon - who wrote some of the band's biggest hits - disappeared from view

By ALISON BOSHOFF FOR THE DAILY MAIL
PUBLISHED: 00:07 GMT, 27 October 2018 | UPDATED: 03:53 GMT, 27 October 2018
https://www.dailymail.co.uk/news/article-6322461/Ex-Queen-bassist-John-Deacon-worth-105m-hes-recluse-30-years.html

Wearing a sensible navy jumper, the balding man grinding out a cigarette butt on a South London street last week could hardly cut a more humdrum figure.

His hair is grey and his demeanour middle-aged. This week, just a few miles away, his former friends Brian May and Roger Taylor strolled up the purple carpet at the premiere of the film Bohemian Rhapsody, but there wasn't a hint of razzamataz here.

This is John Deacon, the 'lost' member of Queen. Worth a reported £105 million, he has nothing to do with the band any more.




Worlds apart: Deacon playing with Freddie Mercury in 1977 (far left) and in London last week

Queen were, of course, shattered by Freddie Mercury's death in 1991, but since then, May and Taylor have continued to record, tour and perform, both as solo artists and as Queen.

They have put together the successful stage musical We Will Rock You, and continue to tour with vocalist Adam Lambert standing in.

However Deacon — who wrote some of the band's biggest hits including Another One Bites The Dust, Under Pressure and You're My Best Friend — has disappeared from view.

The fact, I have discovered, is that this quiet, intelligent man, now 67, always ducks out of anything to do with public appearances.

The band's PR man, Phil Symes, told me this week: 'He's just living a private life.'

Guitarist May adds: 'It's his choice. He doesn't contact us. John was quite delicate all along.'

Indeed his lifestyle in South London is so reclusive and quiet — and his attitude to fame so hostile — that the band apparently don't expect him to respond when they contact him.

His wife sometimes tells callers to their home that he 'doesn't live here', or that she 'doesn't know where he is'.

Neighbours say that they are aware that he lives next door, but they barely see him from one year to the next. The only exception was the local pub, where he used to call in three times a week for a glass of white wine with his wife — but it has now become a supermarket.

So why is he so reclusive?


This week, just a few miles away, his former friends Brian May (left) and Roger Taylor (right) strolled up the purple carpet at the premiere of the film Bohemian Rhapsody (Rami Malek, centre, who plays the role of Freddie Mercury)

Guitarist May adds: 'It's his choice. He doesn't contact us. John was quite delicate all along.'

Indeed his lifestyle in South London is so reclusive and quiet — and his attitude to fame so hostile — that the band apparently don't expect him to respond when they contact him.

His wife sometimes tells callers to their home that he 'doesn't live here', or that she 'doesn't know where he is'.

Neighbours say that they are aware that he lives next door, but they barely see him from one year to the next. The only exception was the local pub, where he used to call in three times a week for a glass of white wine with his wife — but it has now become a supermarket.

So why is he so reclusive?

Drummer Taylor describes him as a 'sociopath', while May suggests that Deacon has never recovered since a booze and drug-soaked period which he implies led to a breakdown more than 35 years ago.

Extraordinarily, Taylor says they haven't spoken in more than a decade. 'I haven't heard a squeak from John, not a single guttural grunt,' he adds. 

'We're not in touch but John's a sociopath, really, and he's given his blessing to whatever Brian and I might do with the brand — and we've done rather a lot.'

May says he contacts Deacon often to ask permission for various commercial enterprises to do with Queen (Deacon remains a quarter shareholder in Queen Productions Limited) but it's not clear how much of a response he gets.

The company is blue-chip to say the least — turnover was recorded at £18.5 million in 2017, with that figure set to swell thanks to the new film.

Not that you would suspect such riches from his unassuming home in Putney, which he bought with his first royalty cheque.

He's never moved, because he didn't want to disrupt the schooling of his six children. This quiet living is the exact opposite of the showy excesses of Queen.


John Deacon, left, Freddie Mercury, centre, and Brian May, right, pictured in 1979

The band were famous for always demanding the best, for spending more than anyone else on private jets, stretch limos, fleets of assistants, hairdressers, designer stage costumes and the rest.

There were four-course backstage feasts with candelabras, orgiastic parties involving dwarves and bowls of cocaine and appearances by performance artists, like the man who lay naked under a pile of chopped liver and was ordered to make the meat twitch when people walked past.

The band was formed in 1970, originating from a band called Smile which included May, then a student at Imperial College.

A fan of the band was Farrokh Bulsara, a student at Ealing College, who joined as the vocalist and changed his name to Freddie Mercury.

They had a number of bass players before settling on Deacon. Legend has it that he was the seventh one they auditioned.


Queen were, of course, shattered by Freddie Mercury's death in 1991, but since then, May (right) and Roger Taylor (centre left) have continued to record, tour and perform, both as solo artists and as Queen

'We were so over-the-top, we thought that because he was quiet, he would fit in with us without too much upheaval,' recalled Taylor. May agreed: 'He's very solid and no-nonsense. He's always got his feet firmly on the ground.'

Deacon grew up in Leicestershire, the eldest child of an insurance broker, Arthur, who died when John was 11.

He had been encouraged by his father to take up music, and formed his own band at 14. Deacon was, like May, a technological pioneer.

He has a first-class degree in electronics from Chelsea College, and used to build equipment for the band, his most famous creation being the 'Deacy Amp' amplifier.

Worldwide fame came in the mid 70s, with Bohemian Rhapsody. Their touring was legendary and their studio albums were complex and expensive to make.

Deacon was known to hang back on stage, and those who remember him from this time say he seemed cripplingly shy — although with a dry sense of humour.

'John is one of those guys who will say nothing and then he will crack a joke, something really near the knuckle, and you will think: 'Did I really hear that right?' says Jacky Smith, who runs the Queen International fan club. He and Freddie were particularly friendly and would hang out together between gigs.

Manager Chris O'Donnell says: 'Brian May and Roger Taylor, who were the real rockers in the band, would slip away to hang out at some club in town leaving Freddie and John behind. John gradually started leaving too, and Freddie would go off to prowl the gay clubs.'


Deacon was known to hang back on stage, and those who remember him from this time say he seemed cripplingly shy — although with a dry sense of humour. Left to right: John Deacon, Freddie Mercury, Roger Taylor and Brian May

Phil Sutcliffe, author of Queen: The Ultimate Illustrated History of the Crown Kings of Rock, said: 'John Deacon was very much the silent bass player which is why these days he can go around practically incognito, which is just the way he likes it.

'He was always ambivalent about the attention.

'Queen was a very volatile partnership between three explosive personalities, and then you had John, who was the still point. He had his family early on, from 1975, and was very much a family man.'

Deacon married Veronica Tetzlaff, a pretty blonde Polish Catholic trainee teacher, in January 1975 when she was pregnant with their first son, Robert, and Queen were just tasting global fame. 

They went on to have four more sons and a daughter. May said in an interview last year that the band span out of control while recording in Munich in the early 1980s. In a book he said that the band were: 'Living in a fantasy world of vodka and barmaids.'

He added: 'We all lost our minds . . . we were all in a perilous place where our emotions were out of control.

'It manifested itself in way too much drinking, a certain amount of drugs, which I didn't share — but certainly an awful lot of vodka went through my body. We all fell to bits.


Their touring was legendary and their studio albums were complex and expensive to make

'We overreacted with each other at times. We all left the band at some point. The studio's a hard place for a band anyway, but in our case all four of us as writers had had worldwide hits. The lifestyle we led magnified that conflict.'

May said it ended with 'John disappearing to Bali and seeing God or whatever'. 

He added: 'He could be very outgoing and very funny, but I think some of the stuff that happened in Munich gave him a lot of damage, and I think losing Freddie was very hard for him as well. He found that incredibly hard to process, to the point where actually playing with us made it more difficult.'

In a rare interview, Deacon said he found the band's hiatus in 1985 hard to cope with. 

'I went spare, really, because we were doing so little. I got really bored and quite depressed.'

Queen reformed the following year and continued to dominate the charts, playing sell-out stadium tours for the next two years.

In July 1986 they threw a famous party at the Roof Gardens in Kensington to celebrate a gig at Wembley. The serving staff were entirely naked apart from body paint.

Mercury, tortured by his promiscuous homosexuality, arrived with former girlfriend Mary Austin — his lover Jim Hutton nowhere to be seen. 

Deacon was overcome by booze. Fan club boss Jacky, who was on the same table, says: 'At one point late into the night John just slipped quietly off his chair, and ended up underneath the table. After a while he came back again. That was very John, he liked a drink.'

But Mercury's failing health began to cast a shadow. In 1987, not long after that party, Mercury was diagnosed HIV positive. As his health failed, the band made one final album. 

Mercury died in November 1991, and the band members were devastated — none more so than Deacon.

Robert Ahwai, a friend of Deacon's from college, recalls: 'Maybe he thought, 'Freddie was the band, so what's the point?'


Mercury died in November 1991, and the band members were devastated — none more so than Deacon

'He suffered from depression after Freddie died and I am not sure he has ever come out of it.'

Deacon played with May and Taylor at the Freddie Mercury Tribute concert in April 1992 and again, in January 1997, to showcase the final Queen song No-one But You (Only The Good Die Young) — a tribute to Mercury. Since then, he's barely been seen in public.

When the musical We Will Rock You opened, May admitted that Deacon had not been to see it — although I'm told he has been spotted in the audience.

Queen author Sutcliffe says: 'After Freddie died, John withdrew more and more. I think Brian May once said that they tell John everything they are doing, and take his silence as acquiescence. He is an enigma.'

Jacky Smith agrees. 'John just gave up after Freddie died. He and Freddie were opposites really, because John is so shy and he was the youngest in the band. Freddie took him under his wing and they were very close for all those years.

'Freddie drew the attention away, and without Freddie there, I don't think John could face any of it.'

There was a short-lived scandal when it emerged in 2002 that Deacon had been visiting a strip bar and formed a friendship with lap dancer Emma Shelley, with whom he was photographed in central London.

Those who know John say the episode seems out of character, and are dubious about how far these proclivities went.

One neighbour said this week: 'You are wasting your time if you are trying to find John. He does live there, but he doesn't talk, not to anyone.

'I haven't seen him in a long time, he is fine, just private. The last time I saw him was a few months ago, in the summer.'

In an interview with a fansite some years ago, Deacon said his hobbies were drinking tea and having children.

These days John Deacon's great passion is said to be golf — hardly the soul of rock 'n' roll. A desire for anonymity seems to be a recurring theme.

The barman who used to serve him at his local pub revealed that he'd been warned by Deacon's wife Veronica who the musician was — and was told not to mention Queen.

So what next? Maybe John Deacon will go to see the new film, in which he is played by American actor Joseph Mazzello.

But if he does, you can bet he will do his best to slip into the local cinema as just another anonymous face in the crowd.

Tuesday, 9 May 2017

A Queen Mystery: The Legend of The Deacy Amp

A Queen Mystery: The Legend of The Deacy Amp
Source: Adam Fabio May 8, 2017 http://hackaday.com/2017/05/08/a-queen-mystery-the-legend-of-the-deacy-amp/#comment-3560168



It sounds like a scene from a movie. A dark night in London, 1972. A young man walks alone, heading home after a long night of practicing with his band. His heavy Fender bass slung over his back, he’s weary but excited about the future. As he passes a skip (dumpster for the Americans out there), a splash of color catches his attention. Wires – not building power wires, but thinner gauge electronics connection wire. A tinkerer studying for his Electrical Engineering degree, the man had to investigate. What he found would become rock and roll history, and the seed of mystery stretching over 40 years.

The man was John Deacon, and he had recently signed on as bassist for a band named Queen. Reaching into the skip, he found the wires attached to a circuit board. The circuit looked to be an amplifier. Probably from a transistor radio or a tape player. Queen hadn’t made it big yet, so all the members were struggling to get by in London.

Deacon took the board back home and examined it closer. It looked like it would make a good practice amplifier for his guitar. He fit the amp inside an old bookshelf speaker, added a ¼ “ jack for input, and closed up the case. A volume control potentiometer dangled out the back of the case. Power came from a 9-volt battery outside the amp case. No, not a tiny transistor battery; this was a rather beefy PP-9 pack, commonly used in radios back then. The amp sounded best cranked all the way up, so eventually, even the volume control was removed. John liked the knobless simplicity – just plug in the guitar and play. No controls to fiddle with.

And just like that, The Deacy amp was born.

The Sound

Now guitarists love the term “tone”. It’s used to describe the overall sound of the guitar, amplifier, and any effects devices in between. Words like “mellow” and “crunchy” come into play. It can be hard for a non-guitarist to keep up. John’s amp had a nice warm tone, slightly distorted – yet pleasant to the ear. He used it for awhile, then brought it along to a practice session with his Queen bandmates.

Guitarist Brian May took an interest in the amp. Now Brian is a hacker in his own right. His guitar, the Red Special, was built as a father/son project when Brian was a teen. The Red Special deserves an article all its own, so keep your eyes peeled for that one. Brian often played through a treble booster. This is a single transistor circuit acting as a 30 db preamp. It guarantees any amplifier plugged in will have its input stage driven to distortion.

Plugging this setup into the Deacy amp changed its sound even more. The overdriven amp sounded different from anything they had heard before. Not quite the warm sound of an overdriven tube amplifier, but much smoother than the clipping sound that came from distorted transistor amps of the time. It also had a sustain to it. The Red Special suddenly sounded like a violin, a cello, or even the human voice. Brian loved the sound and kept experimenting with the amp.

Queen’s sound guys loved the amp as well. It was very consistent, which made it suitable for layering tracks in a recording studio. Guitars are typically recorded by connecting them to an amplifier and then pointing a microphone at the amp’s speaker cabinet. Exactly how to place the microphone and amplifier, as well as the settings of each is as much art an art as it is a science.
The dusty Deacy Amp hard at work in 1998. Image Source Glen Fryer

Brian quickly adopted the amp, and it became an integral part of Queen’s early sound. You can hear it in classics such as God Save The Queen, Killer Queen, and the more recent A Winter’s Tale. In my humble opinion, the most interesting use of the Deacy amp would be
Good Company, from Queen’s album A Night At the Opera. Brian layered track after track with the Deacy. In the end, he reproduced the sound of an entire brass band, just using his guitar.

And that’s how things stayed – Brian used The Deacy in many recording sessions from the 1970’s all the way through the 90’s. It never failed or needed adjustment. In fact, the amp was never opened after John Deacon built it. That all changed in 1998, While recording “Another World” Greg Fryer asked Brian about building a replica for the now aging Deacy. May agreed, and work soon started on studying the original.

There is a certain level of stress an archaeologist must feel when peeling back layers of dirt at a dig site. Greg Fryer and Pete Malandrone must have felt the same way when first opening the Deacy. The pair had no idea what they would find inside this decades-old hack. There was a real chance they could mess this up, and a working piece of rock history.


Carefully removing the back, the two found a single circuit board. It was a four-transistor circuit. The power section was a class B amplifier in push-pull configuration. The power transistors were AC128, germanium devices. Both input and output were transformer coupled, with the power transistors mounted above the two multi-tapped transformer cores. It was a bit odd, both electronically and physically, though some parts of the circuit seem to have been taken directly from the Mullard transistor manual.

Cloning an Original


The board was definitely from a low-cost mass-produced piece of consumer electronics. Replicating the basic design would be easy. The hard part would be replicating the transformers. The two transformers were cheaply made and had multiple taps. One could measure the resistance of each tap, but short of unwinding them, it was impossible to know exactly what material the core laminations were, or exactly how many winds there were.

The pair closed the amp up and began designing the replicas. The first try had a similar sound to the Deacy, but wasn’t quite there. Greg continued to refine the design in his spare time. Each iteration getting closer to the Deacy’s sound. By 2003, replicating the amp had become a mission for Greg. He enlisted Nigel Knight to help with the effort. The hope wasn’t just to provide a few amps to Brian but to create replicas which could be purchased. There are thousands of Queen fans out trying to replicate the sound of Brian’s guitar setup. This would be as close as they could get.

In 2008, Brian gave the OK to completely tear down the amp, and determine what exactly was going on. The transistors were individually tested. The transformers were examined and tested by transformer manufacturers who came on board to help. Loops of wire were wrapped around the transformers, creating yet another secondary coil. Injecting and signals on the unknown primaries and reading the output on the known secondaries helped determine the transformer’s performance.

Many parts were found to be wildly out of spec. The AC128’s were both at the far opposite ends of what the datasheets called nominal. In a push-pull amplifier, you would want a matched pair of transistors. This pair was about as far from matched as one could get. The result was that for a sinusoid waveform input, the lower peaks of the waveform would begin clipping long before the upper peaks. This was one of the keys to the Deacy’s sound.

The result of Greg and Nigel’s work was the
Knight Audio Technologies Deacy Replica. This wasn’t a cheap unit, pricing at well over 1,000 pounds sterling. It still sold well and satisfied just about everyone, including Brian May himself.

The Origin Mystery, Solved
The mystery still remained – where did the amplifier come from? Nigel postulated that it was originally part of a baby monitor or intercom of some sort, as it was a stand alone amplifier. Usually a radio or tape player would have placed all the parts on one circuit board. Both Greg and Nigel posted photos of the Deacy internals in the early 2000s. This brought the greater Internet on board. Surely the Internet would be able to find the origins of a common circuit board like this.

Unfortunately, the answer was no. The years went by, and curious searchers, including this article’s author, found nothing. That is, until January 2013. [Mitch, aka PBPP] on the antique radio forum dropped a bomb of a post. He had found the origin of the Deacy amp board. It was the amplifier section of a transistor radio after all, specifically the Supersonic PR80. He took it a step further and found documentation on the beast, in SAMS Photofact Transistor Radio Series TSM-60, published October 1965.

Supersonic was a company which built consumer electronics in Africa. They manufactured in Rhodesia and South Africa during different periods. Still, this particular model of radio is relatively rare to find. So far, only [Manuel Angelini] has come forward with photographic proof of his own PR80 amp board.

So, while the mystery of the Deacy amplifier origin story was solved, the actual components were just as hard as ever to find. Germanium transistors are becoming quite rare. Soon, the only way to get that Deacy amp yourself will be to fire up some DSP software and simulate it.
Source: Adam Fabio May 8, 2017 http://hackaday.com/2017/05/08/a-queen-mystery-the-legend-of-the-deacy-amp/#comment-3560168

Tuesday, 4 April 2017

Alabama resident's epic life touring with Queen, Rolling Stones, Elton John

Alabama resident's epic life touring with Queen, Rolling Stones, Elton John

045.JPG
Huntsville resident Michael Wiesman toured with rock bands from 1977 to 2000, working as a rigging technician, production manager, stage manager and site coordinator. (Matt Wake/mwake@al.com)
Matt Wake | mwake@al.comBy Matt Wake | mwake@al.com 
Email the author | Follow on Twitter 
on March 31, 2017 at 7:45 AM, updated April 03, 2017 at 10:43 AM
Source-http://www.al.com/entertainment/index.ssf/2017/03/my_life_touring_with_queen_the.html
At one point during Queen's run of April 1985 shows in Australia, the band called Michael Wiesman into their dressing room. Weisman had been working as a member of the "We Will Rock You" hit makers' road crew since 1980 as a rigger, hanging lighting, speakers and other equipment at concerts.
And at this very moment though, he was wondering, "OK (expletive), what have I done?"
But Weisman hadn't messed up. Queen, a group who treated their crew like family, had heard Wiesman and his wife Margie's 15th wedding anniversary was coming up, right when the tour promoting their "The Works" album, which contained the hit "Radio Gaga," would be in Japan. In that Australia dressing room, the band presented Wiesman with a plane ticket to fly Margie over to Japan from the U.S., so the couple could be together on their anniversary.
Weisman was moved. Looking back to that moment, on a recent morning while sipping coffee out of a Double Bubble mug underneath a skylight in his kitchen, Wiesman, now in his late-60s, says. "That's the kind of spirit there was on that tour - on all their tours."
064.JPGMichael Wiesman, third row top left, is pictured among Queen's road crew in this photo from one of the band's tour programs. (Matt Wake/mwake@al.com) 
From 1977 to 2000, Wiesman traveled the world working for rock bands, all while he and Margie were based in quaint Huntsville, Alabama. The couple still resides here, on a leafy cul-de-sac towards Monte Sano Mountain. In addition to Queen, Wiesman did multiple tours with Elton John, Rolling Stones and Rod Stewart. There were treks with Ozzy Osbourne, Eric Clapton, Peter Gabriel, Tina Turner and even campy disco group Village People. His work took him to South America. Asia. Japan. New Zealand. Australia. Europe. "Not a lot of places I haven't been to - I've never been to India, I never went to Russia," Wiesman says. Once while on tour he had to go to a U.S. embassy in Vienna and get supplemental pages added his stamp-saturated passport.
In addition to the thrills of travel and helping bring rock & roll joy to fans, Wiesman cherished the camaraderie among the crews he worked on. "You may hate each other on a given day but it's just like families are with brothers - don't (mess) with them. [Laughs] Because they're going to come after you. There were friendships that developed over time, not only with the travelling crews but the people who were in those local settings I got to know a lot of friends all around the world."
073.JPGAn image of Queen onstage from one of the band's tour programs. (Matt Wake/mwake@al.com) 
As a rigger, Wiesman's typical workday on-tour began around 7 a.m. at the venue. "Everything has very defined spatial dimensions," Wiesman says, "and so all the chain motors that we're hanging, that subsequently hang all the lighting and sound systems, they have to be located specifically in geographic coordinates. Otherwise, show's not going to go up. Stuff's going to bump into itself or you're going to have stuff out of place." During set-up Wiesman would also communicate and coordinate the local crew assisting with rigging.
There's more math and science involved with getting a rock show ready than you might think. Especially when you're hanging tons of equipment from an arena roof that in many cases was not designed to do so. Usually the crew would have things ready for soundcheck around 3 p.m. or so. Rigging was the first equipment out of the truck and the first back in, followed by lighting, scenery (aka "carpenters"), audio and then, if there was any, video. Outdoor productions presented challenges of scale.
Wiesman often spent 40 weeks a year out on the road working with various acts. "That will eat you up," he says. "You've got to be really careful about that. Fortunately, the marriage sustained. We never had any kids so that was at least a factor in the success. And my wife is also in the business and understood that's the nature of the beast." The average tour was maybe 15 weeks or so. He and Margie, a North Carolina native, first met while attending University of North Carolina School of the Arts in Winston-Salem, both studying production management. Wiesman had grown up in Huntsville. While in third-grade at East Clinton School, his teacher had the class put on a student play using handmade puppets. "Quite frankly that hooked me," Wiesman says. "I wanted to be in the business." After graduating from Winston-Salem in 1970, he and Margie moved back to Huntsville and Wiesman began working at the Von Braun Center, for in-house and travelling productions, such as ice shows and circuses.
068.JPGPhotos of Queen from one of the band's tour programs. (Matt Wake/mwake@al.com) 
He also began to get work as local crew for rock shows, including Elvis Presley and Kiss concerts at the VBC, then known as the Von Braun Civic Center. Nothing long term though. "These shows come in and go out on the same day, and you may have three or four shows in a week and then you may not have any shows for two or three weeks," Wiesman says. "So, by the time we got to 1977 I really realized there was no career opportunity for me here, long term." However, he had developed working relationships with many touring riggers, so he started making phone calls, got some referrals and in 1977 landed his first touring job, with R&B stars The Commodores.
"It scared me to death. Having learned what I learned and developed my skills here, I was not prepared to encounter 50 venues across the U.S. each with completely different structures, completely different dynamics internally. You've got to be really quick and creative."
071.JPGAn outdoor stage from a Queen tour, as show in a tour program. (Matt Wake/mwake@al.com) 
Charlie Sanderson is another longtime Huntsville resident who's carved out a notable touring career. Since 2010, Sanderson has been country music icon Hank Williams Jr.'s tour manager, and previously he spent six years working with Stevie Wonder as the R&B legend's stage manager and monitor engineer. Sanderson got his foot in the music biz door years earlier, as a sound engineer at legendary Huntsville dive bar Tip Top Cafe. He'd heard of Wiesman for years, and when they did finally met the two men bonded over touring life and became close friends quickly.
"People like Michael made helped me realize it was OK to be based here," Sanderson says, "and that you could still travel the world doing what we love to do and actually make a career of it. Make a living. You didn't have to go to New York or L.A. or somewhere else where typically people in this industry feel like they have to gravitate to." Sanderson says Wiesman is well-respected in the music business and not just for his work. "He's always been a teacher, to help people further their abilities and careers in the industry," Sanderson says.
Having grown up in classical theatre, Wiesman would've never thought of transitioning into rock & roll if it wasn't for financial needs. Once he got into rock though, he realized it could more than hold its own as performance art. "For a regular production in theatre, you're out here in the audience and effectively it's like looking at a TV screen," Wiesman says. "In a rock & roll show the audience is a part of the show. Often times, critical to the show. If an artist is having a bad day at the keyboard or whatever the audience picks up at that and responds negatively. But if he's having a good night at the keyboard they respond positively. They feed him. It becomes very symbiotic."
041.JPGA technical diagram of a late-80s Rolling Stones stage system. (Matt Wake/mwake@al.com) 
The Rolling Stones tours Wiesman worked on in the early- and late-80s are some of his favorite he ever did. Some of the productions featured a stage that was around 300-feet wide and 90-feet tall. Extremely challenging to build up and take down every show. The pages of The Stones' "Steel Wheels" tour's technical manual is full of diagrams that look like they could be for aircraft carriers or sizable buildings, except for the giant inflatable women. The tour featured two identical stage systems, which were rehearsed at New York's Nassau Coliseum for about four weeks. In addition to rigging, during Wiesman's career he also did some shows as production manager, stage manager and site coordinator.
Wiesman says the crew didn't have much chance to be social with The Stones. (Although there is a handwritten thank-you note from Mick Jagger in Wiesman's cozy home office, along with a platinum Commodores record, Rock in Rio concert poster, stack of tour programs and other mementos.) But Queen was another matter. "The band, all four of them, were very, very concerned about us being taken care of on the road," Wiesman says of Queen's Freddie Mercury, Brian May, Roger Taylor and John Deacon. "So, they were really friendly to us. We were well taken care of, stayed in nice hotels, we got well-paid. Whenever there was a party we got invited, no matter what. And at the end of every leg of a tour or tour itself there would generally be a big party for the crew and a nice cash bonus. It was a nice time to be in the business."
During his touring days, Wiesman got to watch some unforgettable onstage moments. Mercury's spellbinding singing and stagecraft during Queen's Live Aid performance at London's Wembley Stadium. A dazzling Elton John 14-minute piano improvisation during a late-70s show and years later, Sir Elton surprising Rod Stewart by sauntering out onstage in drag during a Stewart acoustic set. "You would have thought it was Marilyn Monroe," Wiesman says. "Audience never knew it was Elton. It was hilarious."
Of course, he was also privy to some unforgettable offstage moments. As when in the early-80s, Queen was doing a multi-night run at New York's Madison Square Garden and wanted to throw a lavish party for New York buddies and showbiz folks. "And we were invited to be a part of it," Wiesman says. "Freddie wanted to have topless waiters with little short shorts and suspenders. And so, the rest of us said, 'Well how about topless waitresses, too?' [Laughs] 'Sure.' (The band) had so much money it didn't matter."
062.JPGQueen played to massive crowds during a South American tour. (Matt Wake/mwake@al.com) 
Wasn't it a complete cultural jolt, coming off a tour back to sleepy Huntsville? "It didn't bother me at all," Wiesman says. "I enjoyed being back here."
By the turn of the century, the music business was undergoing seismic shifts and the family aesthetic Wiesman had enjoyed on earlier tours had become an endangered species. "There were too many suits in the venue. Too many accountants, too many lawyers," he says with a laugh. As rock entered the digital age, the few record companies still in existence had greatly diminished powers, and for bands touring became - with vastly diminished record sales - a vital revenue stream and much more business-like. "Because the bands were paying for everything themselves at that point. It wasn't passed over to the record company. The record companies would do anything the bands wanted in the earlier days. Whatever limousines they needed, whatever drugs they needed."
Wiesman left the rock & roll business and started freelancing for various rigging companies doing one-off type productions, including automobile shows, trade-shows and television productions. He and Margie, who used to work in summer theatre and video production, also now operate a dog school. Approaching 70, Wiesman is still quite fit. Today he's wearing a flannel shirt, cargo shorts, hiking shoes and his gray hair is cropped short. In his spare time, he enjoys doing woodwork out in the workshop behind their home.  
A little radio in the workshop is tuned to a local rock station. Sometimes the station will play a Queen song. When that happens, Wiesman stops what he's doing, puts down his tools and listens attentively as Freddie sings like only he could. "And I bask."
057.JPGImages of Queen from one the band's tour programs. (Matt Wake/mwake@al.com) 


Monday, 21 November 2016

Brian May pays tribute to Freddie Mercury's mother Jer Bulsara after she dies aged 94

Brian May pays tribute to Freddie Mercury's mother Jer Bulsara after she dies aged 94

The mother of the late iconic rock star has sadly died aged 94 on 13th Nov 2016


Brian May and Jer Bulsara
Brian May and Jer Bulsara
Jer Bulsara, the mother of former Queen frontman Freddie Mercury , died last Sunday "peacefully in her sleep", according to Brian May. 
Since the tragic news broke, Freddie's former bandmate and close family friend, Brian May has taken to social media to share his condolences.
Describing Jer as a "warm and devoted Mum" Brain, 69, compared Jen's likeness to Freddie - who died in 1991 after contracting bronchial pneumonia resulting from AIDS - saying both always had a "twinkle" in their eye.Freddie Mercury's mother, Mrs Jer Bulsara

Freddie Mercury's mother Jer Bulsara passed away aged 94
"Freddie’s Mum, Jer Bulsara, passed away a few days ago [13/11/16], very quietly and peacefully in her sleep. She was 94. It’s the wish of the family that the funeral and subsequent arrangements remain private," Brian wrote on his Facebook page.
"Jer was a warm and devoted Mum to Freddie, and, like Freddie, always had a strong twinkle in the eye. Although she was also devoted to her husband Bomi, and lived in the Zoroastrian faith as a good Parsee, she had an independent spirit and a strong sense of humour.

"Of course I knew her for over 50 years, and when I first used to go around to Freddie’s parents’ house in Feltham, only a few yards from where I lived, in our student days, Jer was a busy Mum, full of life and optimism.Jer Bulsara was a "devoted" mother to Freddie Mercury, both pictured above

Freddie Mercury and his Mother, Jer Bulsara
"And even then, fiercely proud of her children, Freddie and Kashmira," the former Queen lead guitarist recollected.
Reminiscing about one particular Queen gig years ago, where Jer was in the audience, Brian revealed Freddie acted up on purpose. He wrote: “I remember one night before a show in London (Wembley Arena, I think) when Freddie announced .. 'Mother’s in the audience tonight. Better throw in a few extra ‘f—ks !'
"There was never any sign that she was shocked."

Brian also insisted that after Freddie passed away, Jer remained "close" to him and her son's fellow bandmates, Roger Taylor, and John Deacon.

Freddie Mercury's Mother, Jer Bulsara sadly passed away last Sunday
Signing off his touching note, Brian said: "In private moments with us, away from the glare of the spotlights, in latter years Jer was always ready with a cup of tea when we visited, and we were always able to speak about ‘My Freddie’ without shyness, feeling that he was not far away."








Monday, 31 October 2016

A Queen fan’s pilgrimage to a sleepy Swiss town where Freddie Mercury found tranquility

A Queen fan’s pilgrimage to a sleepy Swiss town where Freddie Mercury found tranquility
By Amanda Loudin October 27
https://www.washingtonpost.com/lifestyle/travel/a-queen-fans-pilgrimage-to-a-sleepy-swiss-town-where-freddie-mercury-found-tranquility/2016/10/27/9eda4f88-9c70-11e6-b3c9-f662adaa0048_story.html

Crowds gather near a statue of Freddie Mercury, late singer of rock band Queen, on the shore of Lake Geneva in 2007. Mercury’s spirit permeates the town of Montreux, Switzerland. (REUTERS /Alamy Stock Photo)

For the past 50 summers, music lovers have flocked to the banks of Lake Geneva to take in the Montreux Jazz Festival. Drawing more than 250,000 visitors over its annual two-week run, the festival looms large and dominates the Swiss town’s landscape and culture. But Montreux has another claim to musical fame: It was where Freddie Mercury, the legendary lead singer and songwriter of Queen, came to find peace.

Like many well-known rock bands and musicians — including David Bowie, Deep Purple and Iggy Pop — Queen was drawn to Montreux by its quiet solitude and the lower taxes. The band members grew to appreciate the town so much that Mercury rented homes there. In 1979, they bought Mountain Studios, where they did much of their recording. Though Mercury died 25 years ago this month, a visitor today need only go slightly beneath the surface to find his spirit throughout the town.

I visited Montreux in June after a stay in Chamonix, France. With a return flight out of Geneva, I decided to tack on a couple of days in the town, drawn as much by its alpine lakeside location as its music history. I was charmed by both and upon arrival, drawn to the waterfront promenade for a stroll past the town’s restaurants, hotels and historical Chillon Castle.

When Mercury came to Montreux in 1978, it was not love at first sight. “He hated it,” says Peter Freestone, who was Mercury’s personal assistant from 1979 until his death in 1991. I spoke to Freestone via telephone from his home in Prague. “Early on, in fact, he said that the best place for the studio would be at the bottom of the lake.”

Montreux, apparently, was too quiet for the famously energetic Mercury. “Back when Queen first got here, the town was tiny and there was absolutely nothing to do,” says Freestone. “But if you wanted to record an album, it was perfect.”


Montreux began to appeal to Mercury once he had accepted his AIDS diagnosis in 1987, Freestone says. “At that point, Freddie needed and wanted peace and quiet, and the town could deliver it,” he explains. “The Swiss were very used to seeing famous faces in Montreux, and they tended to leave them alone.” Mercury could visit shops, eat out at local restaurants and move about town without the throng of fans and media following him in Montreux as they did in his home town of London.

Indeed, the city has plenty to offer. If following in Queen’s footsteps doesn’t appeal, there’s the lake, available for recreation of all kinds, touring the history-rich town and taking in the castle. It’s easy to enjoy it all in at a relaxed pace and simply people-watch along the promenade. As in most Swiss cities, the food is top-notch, albeit expensive. Montreux enjoys a temperate climate, and touring the area can be pleasant year-round. If jazz and crowds are not your thing, however, you probably want to avoid early July.

Queen produced seven albums in Montreux, including the band’s 15th and final one, “Made in Heaven.” The band members knew they were recording on borrowed time; Mercury worked as much as his diminishing energy would allow, with the other three members accommodating his scheduling needs. “The band spent as much time as possible in the studio during this period,” says Julia Tames, media and communications representative for Montreux Riviera, the local tourist office where I checked in. “After he passed, the rest of the band finished the album.” (It was released four years after his death, in 1995.)

“If you listen to the lyrics of ‘A Winter’s Tale’ from the final album, you can hear and see everything in Montreux,” Freestone says.

The album’s cover was shot in three frames in Montreux, later combined. The blended photo shows the 10-foot Freddie Mercury statue that still overlooks the lake from the town promenade, the three remaining band members on the shores of the lake and the boat house of the home Mercury rented while in Montreux.

Lake Geneva as seen from the Fairmont Montreux Palace. (Amanda Loudin)

These days, fans of Mercury and Queen can tour Mountain Studios, located on the top floor of the town’s casino. The control room is unchanged from Queen’s recording days except for a new recording console. Visitors can also see some of Mercury’s performance costumes, handwritten lyrics and a wide variety of memorabilia. A brass plate marks the spot where Mercury stood to record his final songs. Both an interior and exterior wall at the building are covered in signatures and handwritten tributes to Mercury.

To enter the studio, you must first pass through the dated, gilded casino and walk up to the second floor. Here Queen’s music loudly greets you, even if crowds do not. I had the studio to myself while there, and I meandered through its three rooms at my own pace.

Beyond the studio, “you can feel Freddie all over town,” Freestone says.

There’s the statue, a bronze work by Czech sculptor Irena Sedlecka that was unveiled in 1996 and has become, local officials say, one of the 10 most visited tourist attractions in Switzerland. And several of the bars and restaurants Mercury favored still stand: Fans can have a meal at Brasserie Bavaria, a drink at Funky Claude’s, or stay at the Montreux Palace, where Mercury and the band spent many a night.


 

Queen frontman Freddie Mercury is shown in Germany on July 20, 1986. (MARCO ARNDT/AP file photo)

A section of memorabilia from Queen's 15th album “Made in Heaven” and released in 1995, after Mercury’s death. (Richard Gray)

I stayed down the road/promenade from the palace at the Royal Plaza. Although the location was good, the hotel has seen better days, and a heavy 1980s vibe permeates the property.

Visitors with a boat can get a view of a lakeside house that Mercury rented for several years — he called it the “duck house,” due to the landlord’s decorating motif. Each fall, Freestone, who is semiretired, spends a weekend hosting several boat tours, taking visitors to view the house and other sights. You can generally score tickets from Freestone’s website or inquire about them at the tourist office. “We occasionally do walking tours as well, but that’s not quite as regular,” he says.

After Mercury’s death in 1991, surviving band members Brian May and Roger Taylor and manager Jim Beach set up the Mercury Phoenix Trust (MPT) to raise money for AIDS education and awareness projects around the world.

For the past three years, the MPT has held a fundraising party at the Montreux casino around Sept. 5, commemorating Mercury’s birthday. The event is open to the public; fans can purchase tickets through the MPT. This year marked what would have been his 70th.

“It’s difficult to imagine Freddie at the age of 70,” Freestone says, “because he never wanted to slow down. We . . . use his birthday as an excuse to party, which is what he would have wanted.”

Loudin is a freelance writer based in Ellicott City, Md.

Wednesday, 19 October 2016

Joe Satriani: “Brian May-The Guitarist Whose Tone I’d Never Mistake for Anyone Else”

Joe Satriani: “Brian May-The Guitarist Whose Tone I’d Never Mistake for Anyone Else”
Posted 10/18/2016 by Guitar World Staff , photo by Peter Pakvis/Getty Images
http://www.guitarworld.com/artist-news/joe-satriani-guitarist-whose-tone-i%E2%80%99d-never-mistake-anyone-else/30034



Joe Satriani was asked to name one guitarist whose sound he would never confuse for anyone else.

His choice? Queen guitarist Brian May.

Speaking with Classic Rock, Satriani says, “Brian’s like a whole universe unto himself. The first time you hear him you go, ‘What the fuck is that?’ It’s beautiful music, original tone and an amazing application of the guitar—the harmony, the way he strings together his rhythm and solo parts, his ensemble and call-and-response parts.

“It’s unbelievable how deep his universe is.”

Satch has been on a Brian May kick for quite some time. Just last year, he raved about May in an interview with MusicRadar.com, noting, “Brian’s got a composing style that you notice right away. His guitar style is famous along with his gear—that famous guitar from the fireplace mantel that he and his dad built,” he said, referring to May’s Red Special, which he handbuilt with his father, Harold, while in his teens.

“I’ve played it,” Satch says, “and, unfortunately, I don’t sound anything like Brian when I play that guitar. Only Brian sounds like that.”

In that same interview, Satriani revealed his first time hearing May’s guitar work.

“When I was a young player and someone played a Queen record for me the first time, I was utterly floored,” Satch said. “There’s just nothing but questions in your mind. Meanwhile, your body is loving it. The visceral experience is just so wonderful and it's so much fun.

“He’s one of those guitar players that could mix fun and serious and really pull it off. That music can be cathartic and unapologetic and just make you want to get up and kick ass. I love that. That’s rock ’n’ roll right there.”

In the video from 1992 shown below, Satch and his pal Steve Vai join with May for a rendition of the Queen track “Tie Your Mother Down.”
https://youtu.be/ZS5hGIWFb4k