Early life mostly in Zanzibar—an island off east African coast, history of Arab slave-trade (and cloves). Maybe with tropical storms and "thunderbolts and lightning, very very fright'ning."
Queen seem to have formed themselves in the early 1970s. At the time I thought they emerged from art college, similarly to 'Adam Ant', emphasis on visuals rather then music. And it seems Queen's logo was 'designed' (I don't know if he drew it himself) by F Bulsara, with four zodiacal signs—two lions, a representation of Virgo as two girls—suggesting a confusion with Gemini—and a crab. All surmounted by a Phoenix, which may be a nod to the Phoenician seamen reframed by Miles Mathis. There's online information about Farrokh, no doubt the usual blend of censored truth and semi-comprehension. He can be brought back to life in interviews reproduced online. He does indeed seem to have an unusual mouth structure—four extra incisors was their scriptwriters' opinion. I doubt if this was an orthodontist's view; surely someone must know? He was far less a person of color as the film implies. His voice reminded me of David Irving's.
Probably there's some doubt over Zoroastrianism. It may have been 'Aryan', and not part of the very successful Jewish fraud of Yahweh. His parents were Parsi and perhaps were a Jew-like race; or perhaps not. Persia may have been weakened, by Jews, by Zoroastrianism, all that time past. I don't know. But Iran for many centuries had an important Jewish presence. All this is of course censored at present. Bulsara is supposed to be a town-based name, which is another parallel with modern-ish Jew. I have to wonder whether the movie's presentation of his parents as typical immigrants offended someone. The DVD has no special features, which is unusual, and of course it was presented as non-fiction; it is unusually light of detail.
I once met a man in Lancashire whose ambition was to set up a museum to Zoroastrianism, perhaps attracted by low property prices. Something to do with its eternal flame?
On the voice front, people have examined recordings in the way that racing cars have been reverse-engineered, to see what made them exciting. Exceptionally long range of notes, and accuracy of pitch. There's video of Pavarotti singing with pop performers, giant bagpipes next to thinner reedy voices. But Freddie seemed OK with his Spanish partner. If his voice was so exceptional, is it possible that Rami Malek could have imitated it? I'd guess not; I assume with digital video the audio could be inched (millimetred? milliseconded?) into place to look right. Audio as a separate technical issue goes back to sound films. Watching a Fred Astaire tap dance sequence made it clear to me that the taps were recorded separately; and maybe the invention of 'tap dancing' was conditional on sound processing.
For some reason, as with Andrew Lloyds Bank, Freddie seems never to have learnt to drive. So his big house in Kensington needed little parking outside (except for his chauffeur).
Freddie seems to have liked something of the British Empire way of life: teacups, fairly quiet life. I don't know about railways and horse-racing; perhaps his leanings to opera or operetta were derived from that. And perhaps uniforms and costumes and processions; his stage clothes more like an extension of make-up than practical coverings. A drawing by Aubrey Beardsley, showing (I think—didn't relocate it) Pierrot and Scaramuccia and Pantaleone and Arlecchino, perhaps illustrates the sort of thing. (Beardsley's ma was from Anglo-Indian stock).
Brian May seems to come from a different direction: urban west London (towards Heathrow) and part of the post-war subculture based on war exhaustion and mass media Jewish deception, with money-saving DIY and crystal sets and valves and gadgetry and novelties. Such as experimenting with guitars and amplifiers. Digital electronics—"how can they have no distortion?"—and lasers were coming along. CDs were in production about midway in Queen's career; their first recordings were tape-recorder and vinyl, which I presume was PVC. Then CDs. Their records spanned from 1973 (Queen) to 1995 (Made in Heaven) according to 'Wikipedia'.
May of Queen may count himself as Jewish. His wife (Anita Dobson) is surely a Jew. He may have deep information on such subjects.
I don't know about Taylor and Deacon, though I think Taylor made a magnificent generalisation about US cities all looking the same, an accurate summary, like the idea that cold countries are expensive.
There are several threads to the Queen story, including AIDS, making poverty history's charity links, and Jews/Freemasons and politics which would be expected to be unrepresented in the movie.
'AIDS' was heavily promoted with government propaganda, closely resembling 'COVID'. Iatrogenic deaths were noted by quite a few people. So were the homosexual links. Looking back, I thought poor Freddie Mercury was too high profile to escape being targetted. BUT fear propaganda has odd characteristics. And it's possible he was bored with all the fuss and anyway had a lot of money. Cremation is an ideal way to remove evidence; DNA wouldn't survive. So he could still be around, older and less attractive. Or he may have been a victim, not at all the 'alpha male'.
On Jews, politics, and charity, I've copied (below) a piece by 'Luke O'Farrell', which as far as I know has never been answered.
Queen missed out on science revisionism; poor Freddie Mercury died, supposedly of 'AIDS', but as any US person involved in that money-making industry could have told them, of spurious virological treatments. I've just watched a TV thing with May and the drummer discussing the film of Bohemian Rhapsody: all the royalties went to the 'Terrence Higgins Trust'! A successful Jewish fraud—kill them and get them to pay for bogus research! We prey, you pay! One of the downsides of fame and (presumably) wealth is the problem of brushing-off or secretly evading current errors.
A website hunt shows May opposes a suggested UK badger cull. Biological science since the 1950s has been damaged by mistakes around electron microscopy, and other techniques, which have been misapplied; the science of TB is therefore not known properly. Unfortunately DEFRA officials hide their ignorance better, as the BSE/organophosphate debacle proved, so May isn't likely to be comparatively convincing on the science side. Maybe John Deacon, who seems to keep out, knows better.
On Jews, politics, and charity, I've copied (below) most of a piece by 'Luke O'Farrell', called livehate, from July 2005. It makes the case for a highly-organised worldwide fraud involving the 'Labour' party, weapons for Africa, inter-tribal war, and non-Jews paying for it all:
Bob Geldof was a fading minor pop star in 1985. Had it not been for Live Aid, the original global love-fest “Save the Nigger” extravaganza, he’d be long-forgotten by now. But he swore on the phone a lot, brought together some of the worst acts (and haircuts) in musical history, and raised many millions of dollars for starving Ethiopians, thereby earning himself world-wide fame and an honorary knighthood. Oh, and a few million dollars of his own too: he’s put that fame to good use since 1985, and though it inevitably faded as time passed, he’s more than renewed it with Live8. As a pop star he must be unique, because he’s saved far more lives than he ever sold records.
So the story goes, but that story usually omits some very important facts.
Fact 1: People were starving in Ethiopia because a Marxist dictatorship was waging a tribal war.
Fact 2: St Bob’s aid had to pass through the blood-stained hands of that dictatorship.
Fact 3: That dictatorship used the aid to prolong its war and do further harm to its tribal enemies.
In other words, it’s quite possible that St Bob was responsible for killing more people than he saved, if in fact he saved many people at all. The only certainty about Live Aid is that Geldof himself and the rich musicians he brought together made a huge amount of money from the world-wide publicity it gave them. Exactly the same is true of Live8: though it might not help poverty-stricken blacks, it will certainly help pop stars’ bank balances. But don’t go raising any of that with Geldof, because you’ll send his self-righteousness into overdrive:
Nobody questions St Bob’s motives, or finances, or family life – in fact, when one journalist did ask a few difficult questions of the great man, he lashed out verbally with such aggression that he reduced his interviewer to tears. (The Daily Telegraph, 3rd July 2005)
While half-Jew Big Gob Bob (personal fortune $50 million) gets his highly profitable way by bullying and aggression, his confederates get theirs by tugging our heart-strings:
There has never been a moment like it on British television. The Vicar of Dibley, one of our gentler sitcoms, was bouncing along with its usual bonhomie on New Year’s Day when it suddenly hit us with a scene from another world. Two young African children were sobbing and trying to comfort each other after their mother had died of Aids. How on earth, I wondered, would the show make us laugh after that? It made no attempt to do so. One by one the characters, famous for their parochial boorishness, stood in front of the camera wearing the white armbands which signalled their support for the Make Poverty History campaign. You would have to have been hewn from stone not to cry. (The Guardian, 4th January 2005)
If I’d seen the program, I think I would have to have been hewn from stone not to throw up. I can just imagine the “Look at me: I care!” expressions on those actors’ faces. Yeah, they care alright – about making themselves look good. And if that means exploiting two children to make some hard-core emotional pornography for prime-time viewing, so be it. Me, I’d like to see some real hard-core porn on prime-time TV. Some hard-core gay porn, in fact. Nothing fancy: just a live feed from an American prison where a White is being gang-raped by some of those lovable, helpless blacks.
That might wake up some of the brain-dead Whites who were taken in by Live Aid and Live8. Blacks are not the helpless eternal victims portrayed in liberal propaganda, and Africa’s problems are caused by two things that no-one breathed a word about during the “debates” on “African issues”: low black intelligence and high black psychopathy. Any scheme to help Africa which fails to take these two things into account will only make things worse. If we pour more billions in, those billions will pour back out again into the Swiss bank accounts of black dictators. The best thing Whites could do for Africa is either re-colonize it or leave it completely alone, having first sent all the blacks in Europe and America back there. I prefer the second option myself and even when I was a liberal I was never taken in by the lying propaganda about blacks.
Now that I’ve stopped being a liberal, my rule for lying propaganda is very simple: cherchez le Juif – look for the Jew. Where there’s money to be made and Whites to be fooled about racial reality, Jews are never far away. At both Live Aid and Live8, Bob Geldof has relied on the Jewish music promoter Harvey Goldsmith, who also organized the “AIDS Awareness” tribute for the sodomite Freddie Mercury. One of the leading lights of the current Make Poverty History campaign is Richard Curtis, who writes bad movies, like Four Weddings and A Funeral, and worse TV programs, like The Vicar of Dibley (see above). His most recent bad movie is called The Girl in the Café, which invented the idea of clicking your fingers once every three seconds to symbolize the death of a child in Africa.
More African emo-porn, in other words. Now, I don’t know whether Richard Curtis himself is Jewish, but I do know that he has co-written with a repulsive Jewish “comedian” called Ben Elton and that he’s married to a Jewess called Emma Freud. She’s the great grand-daughter of the subversive pseudo-scientist Sigmund Freud, and her brother Matthew is married to Rupert Murdoch’s daughter Elisabeth (personal fortune $60 million) and helped organize Live8. Matthew Freud is what’s known in Yiddish as a luftmensh, or “air-man.” That is, he makes his living out of air – hot air, mostly:
Matthew Freud is one of the most powerful PR men in London. His clients include pop stars like Geri Halliwell and companies like Virgin Radio, Planet Hollywood, Pepsi, BT, BSkyB, Kentucky Fried Chicken and Unilever. He is a friend of Peter Mandelson (now Britain’s European Commissioner) and placed helpful stories about Mandelson in the tabloids before his appointment as Secretary of State, including an article in The Sun called “Peter’s Friends”, which implied that Peter Mandelson socialised with celebrities like Tom Cruise (whom he had never met). He gave Mandelson PR advice during the secret loan scandal that cost him his job. Freud says he has played “a significant role in re-defining the PR industry... to the front-line art form of controlled media manipulation.” He sold Freud Communications in 1994 for £10 million [$19m], but stayed on in charge of the company as part of the deal. He has repeatedly said that he wants to be appointed to the House of Lords. (www.red-star-research.org.uk)
Friend of Peter Mandelson. “Controlled media manipulation.” Wants to be appointed to the House of Lords. Yep, that’s the kind of person behind Live8 and Make Poverty History: a highly deceitful, highly manipulative Jewish multi-millionaire who’s hand-in-glove with the “former” Marxists and communists of Britain’s Labour government. But note that Matthew Freud himself isn’t famous: like many Jews, he concentrates on gathering money, power, and influence in the background while deluded Whites are supplying fixes of adulation to media junkies like St Bob of Fockoff and Bonehead of U2.
And while those deluded Whites are distracted with pop music and African emo-porn, Jews like Freud are using their money, power, and influence to destroy White nations. I don’t care about starving blacks or AIDS orphans and I’m not going to pretend that I do or that I have any solution to their problems. What I do care about is the suffering caused by blacks to Whites in Europe and America, and I do have a solution to that. We’ll not Make Poverty History this side of Christ’s Second Coming, but if we get the Jews off our backs we can Make Niggers History by sending them – and all other non-whites – back where they belong. It’s as simple as clicking your fingers.
LUKE O’FARRELL
Just a few issues. I haven't mentioned the nukelies.org, on nuke fraud; another Jewish thing, mostly.