Mercury: an Intimate Biography of Freddie Mercury Online
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TFlGK [Get free] Mercury: An Intimate Biography of Freddie Mercury Online [TFlGK.ebook] Mercury: An Intimate Biography of Freddie Mercury Pdf Free Lesley-Ann Jones DOC | *audiobook | ebooks | Download PDF | ePub Download Now Free Download Here Download eBook #370898 in Books 2012-07-03 2012-07-03Original language:EnglishPDF # 1 9.13 x 1.40 x 6.12l, 1.36 #File Name: 1451663951368 pages | File size: 32.Mb Lesley-Ann Jones : Mercury: An Intimate Biography of Freddie Mercury before purchasing it in order to gage whether or not it would be worth my time, and all praised Mercury: An Intimate Biography of Freddie Mercury: 5 of 5 people found the following review helpful. The whole situation was sad.By Mary Ann YoderThis was an interesting read about Freddie... and I was interested in some of her opinions... as in Jim Hutton's writing his book to get back at everyone for being shunned so badly after Freddie died. The whole situation was sad.0 of 0 people found the following review helpful. ReviewBy Julia A CouchI was very pleased with my order. My order arrived in a timely manner. I got this for a friend. I think my friend will enjoy reading this.2 of 2 people found the following review helpful. but there are tiresome passages where she feels the need to correct minute ...By Tim DonderevoSome of Jones' history of Freddie Mercury is compelling, but there are tiresome passages where she feels the need to correct minute falsehoods or errors in other biographies. Other parts seem extremely tenuous, and speculative, but overall its a pretty decent biography. Revealing and intimate, based on more than 100 interviews with key figures in his life, this is the definitive biography of Queen front man Freddie Mercury, one of pop musicrsquo;s best-loved and most complex figures.A revealing, intimate look at the man who would be Queen. As lead vocalist for the iconic rock band Queen, Freddie Mercuryrsquo;s unmatched skills as a songwriter and his flamboyant showmanship made him a superstar and Queen a household name. But despite his worldwide fame, few people ever really glimpsed the man behind the glittering faccedil;ade. Now, more than twenty years after his death, those closest to Mercury are finally opening up about this pivotal figure in rock rsquo;nrsquo; roll. Based on more than a hundred interviews with key figures in his life, Mercury offers the definitive account of one manrsquo;s legendary life in the spotlight and behind the scenes. Rock journalist Lesley-Ann Jones gained unprecedented access to Mercuryrsquo;s tribe, and she details Queenrsquo;s slow but steady rise to fame and Mercuryrsquo;s descent into dangerous, pleasure-seeking excessesmdash;this was, after all, a man who once declared, ldquo;Darling, Irsquo;m doing everything with everyone.rdquo; In her journey to understand Mercury, Jones traveled to London, Zanzibar, and Indiamdash;talking with everyone from Mercuryrsquo;s closest friends to the sound engineer at Band Aid (who was responsible for making Queen even louder than the other bands) to second cousins halfway around the world. In the process, an intimate and complicated portrait emerges. Meticulously researched, sympathetic yet not sensational, Mercury offers an unvarnished look at the extreme highs and lows of life in the fast lane. At the heart of this story is a man...and the music he loved. ldquo;Mercury goes beyond the glittering faccedil;ade to get an unvarnished look at Queenrsquo;s rise to fame, the loves of Mercuryrsquo;s life and his fraught relationship with his conservative past, creating a complete portrait of this magnetic musician.rdquo; --MetroSourceAbout the AuthorLesley-Ann Jones is an award-winning music journalist and author. She toured with Queen and has unrivalled access to the band. She lives in London.Excerpt. copy; Reprinted by permission. All rights reserved.Mercury 1 LIVE AID By making this concert, we are doing something positive to make people look, listen, and hopefully donate. When people are starving, it should be looked upon as one united problem. Sometimes I do feel helpless. This is one of those times I can do my bit. Freddie Mercury nbsp; It was the perfect stage for Freddie Mercury: the whole world. Bob Geldof nbsp; There was a time when politicians made great orators. The art has dwindled dramatically in this century. Rock rsquo;nrsquo; roll, of all unlikely disciplines, is one of the few remaining professions in which an individual or group can hold an audience in the palm of their hand, controlling a throng of thousands with their voice. Film actors canrsquo;t do it. Television stars donrsquo;t even get close. Perhaps it makes the rock superstar the last great compelling figure of our times. This occurred to me as I stood in the curtained wings at Wembley Stadium on Live Aid day with Who bassist John Entwistle and his girlfriend Max. We watched Freddie perform in sweltering heat for close to 80,000 people, and for a television audience of . who knows? A lot of figures have been bandied about in the ensuing years, but somewhere between ldquo;400 million in around 50 countries via satelliterdquo; and ldquo;1.9 billion worldwide.rdquo; With nonchalance, wit, cheek, and sex, he gave it the works. We looked on, open-mouthed. The deafening roar of the crowd drowned out any attempt to speak to them. Freddie couldnrsquo;t have cared. The raw power that held his audience spellbound was so potent, you imagined you could smell it. Backstage, the most legendary names in rock paused to watch their rival stealing the show. Freddie knew what he was doing, all right. For eighteen minutes, this unlikely king and Queen ruled the world. * nbsp; * nbsp; * We make luck in random ways. Bob Geldof, scribbling in his diary in a taxi one day: that was lucky. This was in November 1984. From the depths of his brain, a ldquo;battleground of conflicting thoughts,rdquo; as he later described it, came rudimentary bits of lyrics that would soon enough rock the world. It happened shortly after watching Michael Buerkrsquo;s terrible bulletin from famine-wracked Ethiopia on BBC News. Horrified by television footage depicting suffering of biblical proportions, Geldof felt at once shocked and helpless, his gut telling him that he had to get involved. He had no idea how. He could do what he did best: sit down and write a hit single, the proceeds of which he could pledge to Oxfam. But his Irish punk band the Boomtown Rats were by then in decline, having not enjoyed a Top Ten hit since 1980. Their zenith, a Number One with ldquo;I Donrsquo;t Like Mondays,rdquo; had been and gone in 1979. Music fans, he knew, would flock to buy a charity single provided the artist was big enoughmdash;especially at the Christmas-single time of year. It was a question of finding a sympathetic star to record one. How much better if he could persuade a whole galaxy to join in one song. Bob spoke to Midge Ure, whose band Ultravox were appearing that week on The Tubemdash;a Channel 4 rock and pop show hosted by Geldofrsquo;s then girlfriend (soon to be his wife), the late Paula Yates. Midge agreed to set Geldofrsquo;s lyrics to music and to orchestrate some arrangements. Bob then went to Sting, Duran Duran singer Simon Le Bon, Gary and Martin Kemp of Spandau Ballet. His galactic list stretched as time ticked on to include, among many, Boy George, Frankie Goes to Hollywood, the Style Councilrsquo;s Paul Weller, George Michael and Andrew Ridgeley of Wham, and Paul Young. Francis Rossi and Rick Parfitt of Status Quo went in willingly. Phil Collins and Bananarama followed suit. David Bowie and Paul McCartney, who were otherwise committed, made contributions remotely. These were sent to Geldof to be dubbed onto the single later. Sir Peter Blake, world-famous for his iconic artwork on the Beatlesrsquo; album cover Sgt. Pepperrsquo;s Lonely Hearts Club Band, was recruited to design the record sleeve. Band Aid was born, the name a pun on a common brand of adhesive bandage. This was to be a ldquo;bandrdquo; that would ldquo;aidrdquo; the world. ldquo;Do They Know Itrsquo;s Christmas?rdquo; was recorded free of charge at Trevor Hornrsquo;s Sarm West Studios in Notting Hill, West London, on 25 November 1984, and was released just four days later. At Number One that week was knockout Scottish singer Jim Diamond, with his sublime, timeless ballad ldquo;I Should Have Known Better.rdquo; Although Jimrsquo;s group PhD had scored a hit with ldquo;I Wonrsquo;t Let You Downrdquo; in 1982, he had never had a solo hit. The music industry was therefore gobsmacked when big-hearted Jim gave an interview about his chart success. ldquo;Irsquo;m delighted to be Number One,rdquo; he said, ldquo;but next week I donrsquo;t want people to buy my record. I want them to buy Band Aid instead.rdquo; ldquo;I couldnrsquo;t believe it,rdquo; said Geldof. ldquo;As a singer who hadnrsquo;t had a Number One for five years, I knew what it cost him to say that. He had just thrown away his first hit for others. It was genuinely selfless.rdquo; The next week, ldquo;Do They Know Itrsquo;s Christmas?rdquo; went straight to Number One in the UK, outselling everything else on the chart put together and becoming Britainrsquo;s fastest-selling single since the chartrsquo;s inception in 1952.