As it’s Halloween, I thought I’d have a little fun and do some horror parody lyrics for Queen’s classic hit “Bohemian Rhapsody.” I set it in Dracula’s backyard of Transylvania:
Is this the dawn light? Is this a grave oddity? Caught in some cobwebs, No way back to the cemetery. If you are wise, You’ll look to the skies and see, I’m just a bat now, I need nothing bodily, Because I’m queasy come, queasy go, Batwing high, batwing low, Every time the cock crows always seems to terrify me.Mama, just bit a man, Put her fangs against his neck, Closed her lips and now…oh heck. Mama, mortal life had just begun, But now you’ve gone and transcended eternity.Mama, ooh, Didn’t mean to make you die, If I’m not back from the dead this time tomorrow, Carry on, carry on as if bloodsucking really matters.
Too late, my thirst has come, Sends bloodlust down my spine, My body knows it’s feeding time. Goodbye, everybody, I’ve got to go, Gotta leave you all behind and drink from Ruth.
Mama, ooh (any way the cock crows), I can never lie, I sometimes wish we weren’t undead at all.
I see a little silhouetto of a vamp, Scaring me, Scaring me, will you do the Fang-dango? Drinking blood and fighting, Very, very frightening me. (Garlic Pizza) Garlic Pizza. (Garlic Pizza) Garlic Pizza, Garlic pizza from Holy Joe’s A big no-no-o-o-o.
I’m just a poor boy, no vampire wants me. He’s just a poor boy from a vampire family, Spare him his life and we’ll sharpen his teeth.
Vampires come, vampires go, will you let me go? Bram Stoker! No, he will not let you go. (Let him go!) Van Helsing! We will not let you go. (Let him go!) Bela Lugosi! We will not let you go. (Let me go!) Will not let you go. (Let me go!) Never let you go (Never, never, never, never let me go) Oh oh oh oh No, no, no, no, no, no, no Oh, Vlad the Impaler, Vlad the Impaler (Vlad the Impaler, let me go.) Count Dracula has a coffin put aside for me, for me, for Hallowe-een.
So you think you can shove me out into sunlight? So you think you can stake me and leave me to die? Oh, baby, can’t try burying me, baby, Just gotta crawl out, just gotta creep right outta this crypt.
(Ooooh, ooh yeah, ooh yeah)
Stakes they go with hammers, Everyone can see, Stakes they go with hammers, Stakes they go with hammers into me.
It was Halloween night, October 31st, 1975. Two parallel and seemingly unconnected events were about to take place in music history that wouldn’t cross streams until a decade later.
Queen were about to release their magnum opus “Bohemian Rhapsody. Written by Freddie Mercury, it would enter the UK chart at number 17 on November 15th 1975, reach number one on November 29th and held the top spot for nine weeks until January 24th 1976. Bo Rhap, as Queen fans call it for short, was taken from Queen’s album A Night at the Opera, the title of a Marx Brothers comedy classic movie. Appropriately, Bo Rhap would deny Laurel and Hardy’s tune “Trail of the Lonesome Pine” the number one spot and hold them at number two for two weeks.
Also that October 31st, an unknown singer and former music journalist named Bob Geldof made his debut at a Dublin school Halloween dance. His group The Boomtown Rats were rookies who knew nothing about set lists and ended up doing a three-hour performance of mostly dodgy cover versions. Geldof claims a girl approached him during the interval and offered to “give me one.” He said he knew he was in the right job there and then: “You try getting laid in Dublin in the 70’s!”
Geldof would make it big fast. Less than three years after that inauspicious debut, the Rats had their first UK top ten hit with “Like Clockwork” in the summer of 1978. Four months later in October 1978, they had their first number one single with “Rat Trap.” The Grease soundtrack had dominated the charts in 1978 and Geldof took great pleasure in hiding behind a John Travolta poster on Top of the Pops before ripping it in two to reveal his yawning face as he began to sing.
Queen celebrated Halloween night 1978 with one of the most infamous parties in rock history in New Orleans.
Those two seemingly disparate events in music history at Halloween 1975 would coalesce in Geldof’s Live Aid spectacular at Wembley Stadium on July 13th, 1985 and result in the greatest live performance of all-time. Geldof announced Queen’s participation in the event before they’d fully agreed to it along with many other big name acts like The Who and David Bowie.
Once their hand had been forced, Queen set about preparing their unforgettable set with military precision. The clocks in the orchestra pit of the theatre where they were rehearsing (put there by their roadie Ratty) were just the start. Queen’s sound designer Trip Khalaf took the limiters off the sound at Wembley Stadium meaning that Queen were automatically louder than every act who’d played before them that day. They moved the goalposts certainly but as I always say, no one remembers how you got a chance, they only remember what you did with it. Queen smacked this one out of the ballpark for the home run of home runs. Geldof reacted immediately to Queen’s sound: “I was actually upstairs in the Appeals box in Wembley Stadium, and suddenly I heard this sound. I thought, God, who’s got this sound together? and it was Queen.”
What was the first song in Queen’s set? “Bohemian Rhapsody,” from that long-forgotten Halloween night that launched Live Aid’s founder and gave the stars of his global jukebox their biggest-ever hit and opening number on the day.
Geldof was adamant in his praise of Queen and their astonishing rise to the occasion on his big day: “Queen were absolutely the best band of the day. They played the best, had the best sound, used their time to the full. They understood the idea exactly, that it was a global jukebox. They just went and smashed one hit after another. It was the perfect stage for Freddie: the whole world. And he could ponce about on stage doing ‘We Are the Champions’. How perfect could it get?”
Just over six years later, the great Freddie Mercury was taken from us by the dreaded AIDS virus. However, the band he founded with Brian May and Roger Taylor continued on in various guises without disgruntled bass player John Deacon.
In 2004, Queen began a collaboration (and released an album) with Free and Bad Company frontman Paul Rodgers to mixed results. Rodgers exited the regal vehicle in 2009 and Queen faced the prospect of never touring again until fate favourably intervened yet again.
It is here that the paths of Bob Geldof and Queen cross yet again. Queen were no longer touring and, as usual, Bob was only too happy to offer his opinion. Since the turn of the century, Geldof had been suggesting that Brian May and Roger Taylor “find a kid with Freddie’s range.” There seemed no one around who fitted the bill at the time. Whether Geldof’s prophecy became a self-fulfilling prophecy for Queen or not is anyone’s guess, but luck would be more than a lady, it would be, as Brian May dubbed him – Madam Lambert to the rescue.
This was the era of reality TV shows like X-Factor and American Idol. While most of the contestants promised great things, precious few went on to have any career let alone a long one. On American Idol, a contestant named Adam Lambert with a unique voice and vocal range unleashed his extraordinary interpretation of Bohemian Rhapsody. Word got back to May and Taylor and they played with Lambert on the semi-finals of American Idol. An invitation to perform at the MTV Europe awards and the resultant ecstatic reaction and Adam Lambert became Queen’s new lead singer and the third (and final, Taylor says) incarnation of this mighty band was underway.
The Boomtown Rats didn’t play live from 1986 until 2013 when they surprised everyone by going back on the road for a UK and Ireland tour in support of their fifth greatest hits album “Back To Boomtown: Classic Rats Hits.”
Today, July 8th, 2018, the seemingly eternally-intertwined paths of Bob Geldof and Queen cross once more as The Boomtown Rats support Queen + Adam Lambert at Dublin’s Marlay Park. There is much grey hair in evidence in both camps with Bob Geldof turning 67 in October and Roger Taylor turning 70 next year and Brian May the eldest at 71. It is probably the end of the road for these two legendary bands and the era of rock they came from.
I saw Bob Geldof once in the street in Dalkey in Dublin in July 1988. He was (unsuccessfully) looking for the way in to The Queen’s pub on Castle Street. He tried to gain entrance through the graveyard and then peered myopically through dusty old windows as his entourage shouted “Bob! Bob!” at him. My friend at the time, for reasons best known to himself, shouted over “Bob Marley!” to add to the confusion. Little did I know that exactly 30 years later I’d be seeing Mr Geldof perform at Marlay Park. The feeling of fate and destiny being fulfilled appears to apply to me also as well as Queen and The Rats.
Beyonce has her Sasha Fierce alter ego, Bob Geldof has his Bobby Boomtown persona in his ubiquitous snakeskin jacket. His punky venom will get an airing later today. So let us revel in the majesty of Queen and The Boomtown Rats once more. We will never see their like again.
Today is #WorldRefugeeDay. While I’ve never been a refugee, I have been an immigrant in two countries. I was born in the United States, the son of Irish immigrants. We moved back to Ireland when I was three years old and everyone called me “Yank.” So I’ve been an immigrant in both the countries that compose my nationality.
Being an immigrant is not a status but a state of mind. It doesn’t stop when you “assimiliate” or “integrate” or when you go from being an “outsider” to an “insider.” It is what you think of yourself. You only really stop being an immigrant when you reject other immigrants and try to slam the door in their faces when they try to emulate you.
People will always surprise you if you give them a chance. We’re too quick to impose limitations on ourselves and others based on age, gender, race, colour, creed or whatever. The list is endless. The potential of others is never immediately apparent to us and yet we leap to illogical conclusions repeatedly. Change is scary and immigrants and refugees are the personification of that change. It is easy for these newcomers to internalise the aggression shown towards them when it is not personal. They are not hated for who they are personally but for what they represent to the beholder, however incorrect or irrational that may be.
Irish Famine refugees, reduced to disease-ridden, illiterate peasants under brutal British occupation were despised on their arrival in the United States. Not only were they feared for the Third World diseases they carried but also for the Catholicism that the White Anglo-Saxon Protestants viewed with suspicion and disdain. Now, the Irish are fully integrated into American society. Approximately 44 million Americans claim Irish ancestry. The St Patrick’s Day parades there are the biggest in the world. Irish-America has been an amazing success story and a PR bonanza. Those refugees changed America for the better and brought their traditions, music and humour and placed them at the heart of the American dream. Halloween was one of the many things that went from being an Irish tradition to an American one.
On World Refugee Day, let us remember the amazing capabilities of our fellow human beings and not the negative things that scare and divide us. Compassion must be at the heart of every decision made in their treatment. All human life originated in Africa, so we are all immigrants and refugees to everywhere else on earth really. The human animal is at its best when it helps its own kind to prosper and respects all others forms of life. For just as the immigrant and refugee has unrealised potential within them, so we, the guardians at the gate, have untapped potential for kindness and tolerance and acceptance within us too. If we’re not striving as they strive, we fail ourselves and them too. We need to come out from behind the flags and banners and start treating each other as human beings. Then, and only then, are we fulfilling the potential of those first humans who left the cradle of civilisation so very long ago.
I’ll never forget the first time I saw the movie “The Terminator.” Even though it had been made in 1984, I didn’t catch up with it until October 1986. My parents had gone out for the night to my cousin’s 21st birthday party and I was left alone to watch whatever I wanted (a new and thrilling experience for a teenage boy!). They had also gone out the previous Friday and I’d rented a double bill of Bruce Lee movies (inspired by the early Jean Claude Van Damme movie “No Retreat, No Surrender” where Bruce Lee returns from the dead to teach a young guy how to overcome the evil Muscles from Brussels.)
This time I decided to choose a movie I’d had my eye on for a while. I had seen the phonebook-sized VHS cover with the word Schwarzenegger on it. I didn’t know who Schwarzenegger was, but the name sounded foreign, unpronounceable and vaguely threatening. He also looked cool in his shades, leather jacket and with his gun raised up by his face. I had no idea who James Cameron was either (I didn’t particularly notice or care about movie credits then). I think I’d gotten it mixed up in my head with a film called “The Exterminator” that my friends had told me about in school. They said something about The Exterminator putting a gangster in a mincing machine and teenage boys love a bit of cartoon gore like that. So, after school, I cycled over on my Raleigh racing bike and booked “The Terminator” before anyone else could.
As soon as my parents went out, I popped the cassette into our suitcase-sized Blaupunkt video recorder. I had no idea of the unique quality of the movie I was about to watch. From the moment the future war sequence appeared on the screen, I knew I was watching something really different. Then this legend appeared: The machines rose from the ashes of the nuclear fire.
Their war to exterminate mankind had raged for decades, but the final battle would not be fought in the future.
It would be fought here, in our present.
I was spellbound. After the eerie opening images of Skynet’s probes and flying Hunter Killers (the precursors of today’s drones?) prowling the rubble of a skull-covered WMD-flattened city (the nuclear nightmare of every kid who grew up from the late 1940s to the late 1980s, including myself), there was now the promise of something even more exciting. How good was this movie going to get?
After the ominous Terminator theme tune by Brad Fiedel, we get to the time-travellers who in arrive in Los Angeles circa 1984. James Cameron, like John Carpenter before him, proves himself to be a master of atmosphere (indeed, the music for “Halloween III: Season of the Witch” and “The Terminator” are very similar in parts and both movies deal with killer robots masquerading as humans). Both directors know how to use silence and shadows and even humour before hitting the audience with big shocks. The Terminator does ape the noirish photography, electronic soundtrack and editing techniques (Mark Goldblatt also edited Halloween II three years previously) of the Halloween series which was probably a clever move by Cameron as they were hugely popular at the box office then.
I was thrilled by Michael Biehn’s theft of a pair of Nike running boots as, believe it or not; I was wearing an identical pair of them as I watched this movie. I had bought them when I was on holiday with my family during the summer of 1986 and they served me well. The similarity in our footwear convinced me that this was a movie for me!
To cut a long story short, I was completely hooked from start to finish on the movie. I didn’t want it to end. But end it did and I turned over to watch one of those naughty “Red Triangle” movies they were screening on Channel 4 at the time. This one turned out to be Japanese.
Two months later, I went to see “Aliens” with my brother after he came home from America. (30,000 people emigrated from Ireland in 1986; my brother was one of them). So I suddenly got a double dose of James Cameron’s first movies all at once.
James Cameron, wanted “The Terminator” to be a film “that a twelve-year-old would think was the most rad picture he’d ever seen,” but also one “that a forty-five-year-old Stanford English professor would think had some sort of socio-political significance between the lines.” I can understand both perspectives looking at the film now and remembering my teenage experience of it that Friday night.
In Terminator 2: Judgment Day, as happened with the edgy protagonists in the Dirty Harry and Lethal Weapon franchises, the Terminator character is softened greatly. He becomes a family-friendly, wisecracking father figure and is no longer the ruthless, casually homicidal character he was in the first film. The character and the sequel lost the intense, nihilistic feel of the original by letting the audience off the hook through comic relief. The end of the world doesn’t seem so terrifying if you’re laughing at it. It coincided with Schwarzenegger’s initial forays into politics and his association with the Kennedy family through his marriage to Maria Shriver and campaigning for President George Bush Sr. So it could have been an overt attempt by Arnold to exercise his star power and reboot his image. There is also the possibility that the studio and/or James Cameron wanted to tone down the violence to get a lower age rating for the movie to make more money and that it did (The Terminator got an 18 certificate age rating in the UK, Terminator 2 got a 15).
I’m looking forward to seeing Cameron’s “Avatar” sequels, whenever he brings out a movie you’re going to sit up and take notice. He’s hired the writers of Spielberg’s War of the Worlds and Rise and Dawn of the Planet of the Apes to help him with the “Avatar” sequel scripts and they’re talented scribes. It should be interesting to see what they come up with. The fourth sequel to Cameron’s The Terminator, “Terminator Genisys” is coming out in summer 2015. (Schwarzenegger’s movies since his comeback after politics haven’t been great. Escape Plan with his pal Stallone is easily his best post-Governor movie and performance. The rest have been forgettable and Arnold looks tired and bored in them with no sign of his old charisma or one-liners.) The Terminator has undergone another image change for “Terminator Genisys” to reflect where Arnold is now and his android assassin will have grey hair in the new film. Yes, will people take to a granddaddy cybernetic organism? We shall see.
So Arnold Schwarzenegger and James Cameron, like The Terminator, will be back, if separately. Let’s hope they can reach the levels that they did with their unforgettable first collaboration. If not, we can always time travel to the original again any time we want by putting it on our TVs. Arnold’s not an ex-Terminator yet.
Barnabas Collins, the anti-heroic bloodsucker from ABC’s undyingly popular supernatural soap opera of the 1960s, has been selected as one of eight candidates for Best Vampire in the World Series of Monsters, an 11-category competition going on now on the HitFix website. But, with voting set to close today (October 26), TV’s “cool ghoul” is currently in last place.
This is an outrage of the first order. And one that must not stand.
As portrayed by Canadian actor Jonathan Frid, Barnabas became an international sensation when he was introduced to the viewers of the ratings-starved daytime soap in April of 1967. What was intended to be a 13-week ratings stunt turned into four years of witches, werewolves and zombies, with some of the most outlandish plotlines ever to grace TV screens at any hour of the day. And…