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Talk:Film festival

List of film festivals
Fantasporto Film Festival, Oporto, Portugal http://www.caleida.pt/fantasporto/

-

I'm moving the list of film festivals to List of film festivals, since it's more appropriate there. This page would rather need a general introduction on (the history of) film festivals in general, IMHO, but I'm not specialized enough to write that... Spinster 21:26, 28 Jan 2004 (UTC)

Moscow Film Fest
Im not sure - if the MIFF is one of the oldest. According official site there was some fest in 1935, but than 24 YEARS NOTHING. It shouldn´t be considered as the continuation of that festival. It looks more like some kind of marketing - the organizers (during the Soviet rule in the eastern block) found there was SOME festival in the city of Moscow in 1935 and so they said - the one in 1959 is a continuation (but what continuation after 24 years and after just one event?). I think it´s just classical Soviet propaganda of that times - used in today´s marketing.

 * Following your logic, the Venice Film Festival, which also was suspended in the 1940s, is a "classical Mussolini propaganda of that times - used in today's marketing". What a trash. --Ghirlandajo 09:58, 18 September 2005 (UTC)

 * you don´t undestand the text I wrote??? The comparison with the Venice Festival is absolute STUPID.

 * No need to shout there. --Ghirlandajo 12:32, 19 September 2005 (UTC)

Removal of Sacramento from "A List" fests
I agree. It shouldn't be there. Vivaverdi 15:57, 28 May 2006 (UTC)

What to include in the general description of festivals
I've put in a sub-heading to suggest that the festivals referred to are notable in some way. for that reason, I have removed Chicago, a worthy but "general" Festival which is no more distinguished than most others in many cities of the world where major new international films are presented.

There is no point in everyone adding an account of their favourite city's festival to an ever-lengthening list.....

SO- I'd propose that: details of specific fests be limited only to those which are unique or distinctive in some defined manner e.g. Women of Color; Student fest, etc.

Vivaverdi 23:20, 15 October 2006 (UTC)

Added St. Sebastian to "A list"
According to their site :
 * In 1957 the festival was granted "A" status and the Shell awarded in the main categories turned to gold.

It's an A veteran. --Sugaar 12:27, 31 October 2006 (UTC)

Added Mar Del Plata to "A list"
According to film's description page :
 * ...the festival is granted a 'Category A', the highest class assigned by FIAPF..

DiegoGLagash 16:02, 13 January 2007 (GMT-3)

"A" Festivals
I think this section is inaccurate as it conflates two separate definitions of what an "A" festival is.

Firstly (and, I believe, the original definition), an A festival is the informal name of the formal designation by FIAPF for a festival of a "Competitive Feature Film Festival" (other FIAPF categories are Competitive Specialised Feature Film Festival, Non-competitive Feature Film Festival, and Documentary and Short Feature Film Festival). Currently, festivals in this category are Berlin, Mar del Plata, Cannes, Shanghai, Moscow, Karlovy Vary, Locarno, Montreal, Venice, San Sebastian, Tokyo and Cairo. Whilst this list includes some of the world's most prestigious festivals, it should be noted that not all large festivals are accredited with FIAPF (including Sundance, Toronto and Rotterdam). FIAPF accredition places strict conditions on what films a festival can, or more to the point can't, show (so a film doesn't play in competition in two A festivals), how long a festival runs, when a festival is held (so no two A festivals overlap) and various other stringent conditions about how the festival is run (I think, for example, there are rules about what kind of insurance a festival has). As a result, many festivals, even large and prestigious ones, prefer the flexibility of being outside the FIAPF system. Just to confuse matters, FIAPF itself doesn't use the term "A Festival" in any context and I don't think ever has.

The second definition is just loosely any big, well-regarded festival.

Note that the two definitions partially contradict each other in that not all FIAPF "A" festivals are particularly well-regarded globally and even regionally may not be the most important festival (for example, Cairo).

--AndrewJamesHorton 16:03, 3 April 2007 (UTC)

Ivy Film Festival
Can we check the claim that it's the largest student film fest in North America? Campus Movie Fest is based in the US and claims to be the world's largest. Additionally, it also said "only student-run film festival in the world", which is false - Student Films Across America is student-run. I removed that part. 24.59.112.218 21:59, 21 April 2007 (UTC)

Application dates and festival dates
Can we add the application deadline dates and the festival dates for all the festivals? Most people interested in info on festivals are filmmakers, not tourists, so the critical dates of the festivals are important. Robert Elliott 15:58, 26 May 2007 (UTC)

NOTABLE Festival?? "The Digital Video Festival?" NO!
They are placed in a category that does not exist with any sort of notoriety whatsoever. And then they are placed again under the "Independent films in Hollywood..."

I wonder who posted these edits? The actions of this festival online (and offline) seem more and more shady as time passes. Anyone agree, at least, that this is not a NOTABLE festival? If so, please make the correction (I'm anonymous, no username, so I'm hoping someone with accountability will step up to the plate for this one).

Thanks! I don't want people thinking this festival is notable and important (and further waste $40-50 submission fees). —Preceding unsigned comment added by 24.6.239.17 (talk) 03:46, 9 September 2007 (UTC)

Similarly: NC Film Festival may or may not be notable, but "Now Casting, the premiere casting resource for actors and actresses" sounds like obvious self promotion? 62.244.190.66 10:56, 25 September 2007 (UTC)

A -list festivals
I provided a reference for this and corrected the list. The reference I used is a 2001 Variety article, which is good because it provides some good context and shows what acceptance the categorization has in the industry, but it's 6 years old so something more up-to-date would be good for the actual list itself. I couldn't find anything on FIAPF's website. -- SiobhanHansa 11:27, 14 September 2007 (UTC)
 * Cool. I always wondered how the film festivals are classed. Recently I came across this article in which the Film Development Council of the Philippines assigns classifications to film festivals and uses the rankings as a basis for how much money it gives films that appear in the various festivals. I'm not sure about some of their choices (there's at least one confusing contradiction with a "New York" festival listed in both the first and second tiers), or whether they are even relevant, but at least it is a reference. — WiseKwai 15:44, 14 September 2007 (UTC)
 * I guess the question we need to consider here is how well regarded is the Film Development Council of the Philippines (or any other body that puts out a list) and does their classification system have any significant weight? I think the FIAPF one is a little over stated since (as someone further up this page points out) many prestigious festivals aren't even classified under their system (and the whole A-list terminology is kind of iffy).  But it does have some impact on major filmmakers and industry experts.  Getting several different well respected lists together might be a good idea, but mainly I think the "notable festivals" section is a bit of an original research mess and spam magnet!  -- SiobhanHansa 16:09, 14 September 2007 (UTC)
 * I agree with the OR/spam comment - it would be best to make the article structured to talk as generally as possible about festivals with as little reference to specific ones, aside from incontrovertably major ones like Cannes and Sundance. We can always link to a list page for festivals that have article pages here. Girolamo Savonarola 17:17, 14 September 2007 (UTC)

To expand on SiobhanHansa's point above, the "A-list" terminology appears to come solely from Variety, a film industry trade journal that is notorious for creating its own arcane vocabulary for describing things. Try reading some of Variety's articles sometime, and see if you don't come away a little perplexed as to what they are writing about. "A-list" is not a term used by the FIAPF at all. According to the FIAPF's annual listing of accredited festivals, there are "Competitive Feature Film Festivals" (the so-called "A-list"), "Competitive Specialised Feature Film Festivals" (the second tier, if you will), "Non-Competitive Feature Film Festivals" and "Non-Competitive Documentary and Short Film Festivals". From what I can gather, none of these classifications actually denote any sort of prestige - the only prestige within the FIAPF system is accreditation itself. And, as is noted above, there are some festivals that are unquestionably prestigious yet haven't ever opted for FIAPF accreditation. The flipside of that is: Is FIAPF accreditation necessarily prestigious? — WiseKwai 12:02, 4 October 2007 (UTC)
 * It may still be possible to pull a useful and less subjective list through some selected criteria, though. For instance, there are only a handful that large Hollywood films tend to prefer to premiere at. I don't really have any concrete recommendations, and I agree that the term is too POV at the moment to stand as is, but I also believe that most people would agree that a small number of festivals such as Cannes, Sundance, Venice, etc (I could go on, but that's kinda the point, innit?) clearly are considered more prestigous. Girolamo Savonarola 12:54, 4 October 2007 (UTC)
 * I think that's true - but hard (which isn't to say we shouldn't do it). I think one of the biggest difficulties we will have is in seeing this from a truely international perspective. Looking at more than the Hollywood perspective will be important to providing a balanced article, but at the same time we need to guard against the sort of I like it behavior that has got the list into the place it is now, and against pressure to provide minority points of view with equal footing.  Not sure how to do that well.  Perhaps we could start by trying to agree on deleting half of the current list.  A conversation like that might help us develop a framework without risking much in terms of hurting the list as it stands. -- SiobhanHansa 15:07, 4 October 2007 (UTC)
 * I used the Variety article as a source for the FIAPF "A-list" instead of something straight from FIAPF because it both provided a link for the A-list terminology and also a third party (Variety's) opinion on the importance of the list. I don't think it's entirely fair to dismiss the listing as unprestigious - Most of the festivals aren't as well covered in the mainstream press as Sundance and Cannes, but my understanding is that they have significant economic impact (and maybe I've misunderstood this) - leading to distribution in regions that Sundance etc. don't.  But it does seem overblown as it's listed.  It's at the top and the terminology is far too similar to the whole star "A-list" thing (which it isn't at-all equivalent to).  Also the number of clearly minor festivals in the list below masquerading as prestigious make the A-list terminology even more unreasonably prominent.  But if these were the only festivals named as prestigious - I think that would be entirely inappropriate too.  -- SiobhanHansa 15:07, 4 October 2007 (UTC)
 * Prestigious was my term in the context of this discussion; I have no intention of it being included in the article, as it would be POV. While I agree with you that different festivals serve similar functions in more obscure markets, I don't think it's unfair to make distinction of some of these "A" festivals - their very prestige makes them a target for most international filmmakers, period. A look at their programming (collectively) should display a decent amount of diversity. But the Hollywood factor is a feedback mechanism of a sort - Hollywood filmmakers (usually more of an indie or auteur bent) want to send their films bc some of these festivals are prestigious (and to state it cynically, have prestigious awards that they want). This then makes these festivals more prestigious by the participation of Hollywood, which makes them want to send their films...and so on. It's not unrealistic to take that into account. Girolamo Savonarola 15:37, 4 October 2007 (UTC)
 * I agree for the most part - I don't mean to suggest that the Hollywood angle isn't incredibly important and wouldn't be one of if not the primary angle. I just think we sometimes forget in the West that there are still huge markets for film that do not look to the same circuit - they are also important in their spheres, and those spheres are not small.  My understanding is that film-making for non-western mass distribution is poorly served by the Cannes/Sundance et al. bracket.  I don't know how to evaluate this fairly, or even where to look for sources outside the western perspective, I'm just throwing up a caution.  -- SiobhanHansa 16:08, 4 October 2007 (UTC)
 * Local festivals will serve local markets, that's for certain. But for large-scale distribution of both American and non-American films, those films need to travel outside their home regions. I'm not denying that there has been and probably still is some underlying systemic bias, but that has been greatly reduced in recent years, and one can easily find cinema from any continent amongst the films being shown at these bigger fests. They may not be as well publicized as the latest Hollywood films, for example, but that doesn't negate the fact that they are part of the programs for these festivals. In fact, many of the filmmakers considered the "greatest" of their country, such as Kurosawa and Satyajit Ray, had far more favorable reception abroad than at home. Girolamo Savonarola 19:58, 4 October 2007 (UTC)

Film festival task force
A task force has been created for film festivals. If you're interested, you can sign up at the task force page, WikiProject Films/Film festivals task force. Please feel free to contribute. — WiseKwai 02:39, 2 October 2007 (UTC)

Headlines

 * Berlin film festival gloats over Rolling Stones coup (Reuters), regarding competition between the top festivals.
 * 'Lust, Caution,' 'The Warlords' lead Asian Film Awards nominations (AP via Canadian Press via Google News), also regarding competition among festivals.— WiseKwai 09:03, 24 January 2008 (UTC)

short vids at start of film fest screenings?
Should article include short bit about the short videos that are shown at the start of festival screenings? I'm not sure what they are called. Show openers? (Vancouver International Film Festival 2009 had 3 videos created and showed one of them at the start of each VIFF screening. One was about subtitles. The second was titled "Disturbing" ("the following film may contain scenes that disturb you .."). The third was titled "Sexuality" ("the following film may contain scenes of sexuality .."). --EarthFurst (talk) 05:13, 18 November 2009 (UTC)

India film festivals

 * Moved from the article –p joe f (talk • contribs) 08:57, 10 December 2009 (UTC)

The world's largest film industry,exist in India. They produce over 1000 films a year.There are several international film festivals in India, and the Mumbai the capital of film industry has it's very own presetiougiuos film festival. Called THE MUMBAI INTERNATIONAL FILM FESTIVAL. It is started by teh noted indian film maker Mr Shyam Benegal. And it is only 11 years old. —Siraj Zaidi

Berlin the biggest?
"The most well-known film festivals are the Venice Film Festival, the Cannes Film Festival, the Toronto Film Festival, and the Berlin International Film Festival, the latter being the largest film festival worldwide, based on attendance." Two citations are given, both from another encyclopedia (which feels oddly unsatisfying), and neither support the claim Berlin is the biggest.

The Berlin Film Festival wiki page gives a better citation for a similar claim (it provides the attendance estimates), but then also hedges by saying 'is considered' the largest. Do we have comparable attendance estimates for the other major festivals?

The next citation on this page (a couple of sentences later) is a dead link too, although there is an inline link to the external source. A bit of work is needed. Sorry, I don't have the skills to do this. I can only fix typos! — Preceding unsigned comment added by 149.171.160.246 (talk) 01:07, 19 June 2014 (UTC)

Venice, the longest continuously running?
"Venice's festival is the oldest major festival, and the longest continually running one." -- How can that be the case, given that the entry for Venice says "The social and political unrest of 1968 had strong repercussions on the Venice Bienniale. From 1969 to 1979 no prizes were awarded and the festival returned to the non-competitiveness of the first edition. In 1973, 1977 and 1978, the festival was not even held. The Golden Lion didn't make its return until 1980."
 * One of the longest running, sure, but definitely no claim can be made that it was continuously running the whole time. Jun-Dai (talk) 02:23, 16 November 2015 (UTC)

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Regina Film Fesival
This festival is not notable at all and every mention of it in the article, including the mention of the founder's name for no reason and other loaded language smacks of someone using the article to promote the festival. — Preceding unsigned comment added by 2001:56A:7616:9200:C16C:23D1:F645:620E (talk) 02:42, 7 April 2018 (UTC)

Grand Jury Prize page shouldn't redirect to this page
Grand jury prize page shouldn't be redirected to this page where people learn about film festivals. (Forfilmssake (talk) 05:40, 1 February 2019 (UTC))31st Jan 2019

 * Support - there's no legitimate reason for that redirect. Kire1975 (talk) 08:21, 12 December 2020 (UTC)

History
The whole History section is very muddled. It basically namedrops some seemingly random Festivals. Could someone with a proper source improve it? Knaxberg (talk) 07:35, 28 February 2023 (UTC)

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Post and lintel

Post and lintel (also called prop and lintel, a trabeated system, or a trilithic system) is a building system where strong horizontal elements are held up by strong vertical elements with large spaces between them. This is usually used to hold up a roof, creating a largely open space beneath, for whatever use the building is designed. The horizontal elements are called by a variety of names including lintel, header, architrave or beam, and the supporting vertical elements may be called posts, columns, or pillars. The use of wider elements at the top of the post, called capitals, to help spread the load, is common to many architectural traditions.

Lintels
In architecture, a post-and-lintel or trabeated system refers to the use of horizontal stone beams or lintels which are borne by columns or posts. The name is from the Latin trabs, beam; influenced by trabeatus, clothed in the trabea, a ritual garment.

Post-and-lintel construction is one of four ancient structural methods of building, the others being the corbel, arch-and-vault, and truss.

A noteworthy example of a trabeated system is in Volubilis, from the Roman era, where one side of the Decumanus Maximus is lined with trabeated elements, while the opposite side of the roadway is designed in arched style.

History of lintel systems
The trabeated system is a fundamental principle of Neolithic architecture, ancient Indian architecture, ancient Greek architecture and ancient Egyptian architecture. Other trabeated styles are the Persian, Lycian, Japanese, traditional Chinese, and ancient Chinese architecture, especially in northern China, and nearly all the Indian styles. The traditions are represented in North and Central America by Mayan architecture, and in South America by Inca architecture. In all or most of these traditions, certainly in Greece and India, the earliest versions developed using wood, which were later translated into stone for larger and grander buildings. Timber framing, also using trusses, remains common for smaller buildings such as houses to the modern day.

Span limitations
There are two main forces acting upon the post and lintel system: weight carrying compression at the joint between lintel and post, and tension induced by deformation of self-weight and the load above between the posts. The two posts are under compression from the weight of the lintel (or beam) above. The lintel will deform by sagging in the middle because the underside is under tension and the upper is under compression.

The biggest disadvantage to lintel construction is the limited weight that can be held up, and the resulting small distances required between the posts. Ancient Roman architecture's development of the arch allowed for much larger structures to be constructed. The arcuated system spreads larger loads more effectively, and replaced the post-and-lintel system in most larger buildings and structures, until the introduction of steel girder beams and steel-reinforced concrete in the industrial era.

As with the Roman temple portico front and its descendants in later classical architecture, trabeated features were often retained in parts of buildings as an aesthetic choice. The classical orders of Greek origin were in particular retained in buildings designed to impress, even though they usually had little or no structural role.

Lintel reinforcement
The flexural strength of a stone lintel can be dramatically increased with the use of Post-tensioned stone.

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Bohemian Rhapsody

"Bohemian Rhapsody" is a song by the British rock band Queen, released as the lead single from their fourth studio album, A Night at the Opera (1975). Written by lead singer Freddie Mercury, the song is a six-minute suite, notable for its lack of a refraining chorus and consisting of several sections: an intro, a ballad segment, an operatic passage, a hard rock part and a reflective coda. It is one of the few progressive rock songs of the 1970s to have proved accessible to a mainstream audience.

Mercury referred to "Bohemian Rhapsody" as a "mock opera" that resulted from the combination of three songs he had written. It was recorded by Queen and co-producer Roy Thomas Baker at five studios between August and September 1975. Due to recording logistics of the era, the band had to bounce the tracks across eight generations of 24-track tape, meaning that they required nearly 200 tracks for overdubs. The song parodies elements of opera with bombastic choruses, sarcastic recitative, and distorted Italian operatic phrases. Lyrical references include Scaramouche, the fandango, Galileo Galilei, Figaro, and Beelzebub, with cries of "Bismillah!"

Although critical reaction was initially mixed, retrospective reviews have acclaimed "Bohemian Rhapsody" one of the greatest songs of all time, and it is often regarded as the band's signature song. The promotional video is credited with furthering the development of the music video medium. It has appeared in numerous polls of the greatest songs in popular music, including a ranking at number 17 on Rolling Stone's 2021 list of the “500 Greatest Songs of All Time”. A Rolling Stone readers' poll ranked Mercury's vocal performance as the greatest in rock history.

"Bohemian Rhapsody" topped the UK Singles Chart for nine weeks (plus another five weeks following Mercury's death in 1991) and is the UK's third best-selling single of all time. It also topped the charts in countries including Canada, Australia, New Zealand, Ireland, and the Netherlands, and has sold over six million copies worldwide. In the United States, the song peaked at number nine in 1976, but reached a new peak of number two after appearing in the 1992 film Wayne's World. In 2004, the song was inducted into the Grammy Hall of Fame. Following the release of the 2018 biopic Bohemian Rhapsody, it became the most streamed song from the 20th century. In 2021, it was certified diamond in the US for combined digital sales/streams equal to 10 million units, and is one of the best selling songs of all time.

History and recording
According to Mercury's friend Chris Smith (a keyboard player in Smile), Mercury first started developing "Bohemian Rhapsody" in the late 1960s; Mercury used to play parts of songs he was writing at the time on the piano, and one of his pieces, known simply as "The Cowboy Song", contained lyrics that ended up in the completed version produced years later, in 1975, specifically, "Mama ... just killed a man." Producer Roy Thomas Baker, who began working with Queen in 1972, related how Mercury once played the opening ballad section on the piano for him in Mercury's flat:

"He played the beginning on the piano, then stopped and said, 'And this is where the opera section comes in!' Then we went out to eat dinner."

Guitarist Brian May said the band thought that Mercury's blueprint for the song was "intriguing and original, and worthy of work". According to May, much of Queen's material was written in the studio, but this song "was all in Freddie's mind" before they started.

Queen spent a month rehearsing at Ridge Farm Studio in Surrey in mid-1975, and drummer Roger Taylor recalled that "Bohemian Rhapsody" was one of the songs the band worked on while they were there. Recording began on 24 August 1975 at Rockfield Studio 1 near Monmouth, South Wales, after a three-week rehearsal at Penrhos Court, near Kington, Herefordshire. During the making of the track, four additional studios – Roundhouse, Sarm Studios, Scorpio Sound, and Wessex Sound Studios – were used. According to some band members, Mercury mentally prepared the song beforehand and directed the band throughout.

Mercury used a C. Bechstein concert grand piano, which he played in the promotional video and the UK tour. Due to the elaborate nature of the song, it was recorded in various sections. The piano was allegedly the same one Paul McCartney had used to record the Beatles' song "Hey Jude", as well as the same one Rick Wakeman used on David Bowie's 1971 album Hunky Dory.

Baker recalled in 1999:

""Bohemian Rhapsody" was totally insane, but we enjoyed every minute of it. It was basically a joke, but a successful joke. [laughs] We had to record it in three separate units. We did the whole beginning bit, then the whole middle bit and then the whole end. It was complete madness. The middle part started off being just a couple of seconds, but Freddie kept coming in with more "Galileos" and we kept on adding to the opera section, and it just got bigger and bigger. We never stopped laughing ... It started off as a ballad, but the end was heavy."

May, Mercury, and Taylor reportedly sang their vocal parts continually for 10 to 12 hours a day. The entire piece took three weeks to record, and in some sections featured 180 overdubs. In multiple interviews, May recalled how Mercury's vocal overdubs were so exquisitely precise that he would create a natural phasing effect.

Since the studios of the time only offered 24-track analogue tape, it was necessary for the three to overdub themselves many times and "bounce" these down to successive sub-mixes. In the end, eighth-generation tapes were used. The various sections of tape containing the desired sub-mixes had to be spliced (cut and assembled in the correct sequence). May recalled placing a tape in front of the light and being able to see through it, as the tape had been used so many times.

A similar story was told in 1977 by Taylor regarding the elaborate overdubs and sub-mixes for "The March of The Black Queen" for the album Queen II. At that time, the band was using 16-track equipment.

Producer Baker recalls that May's solo was done on only one track rather than recording multiple tracks. May stated that he wanted to compose "a little tune that would be a counterpart to the main melody; I didn't just want to play the melody". The guitarist said that his better material stems from this way of working, in which he thought of the tune before playing it: "The fingers tend to be predictable unless being led by the brain." According to Baker,

"... the end of the song was much heavier because it was one of the first mixes to be done with automation ... If you really listen to it, the ballad starts off clean, and as the opera section gets louder and louder, the vocals get more and more distorted. You can still hear this on the CD. They are clearly distorted."

In May 2023, an early handwritten draft unearthed from an auction of items that belonged to Mercury, courtesy of his friend Mary Austin, revealed that Mercury originally considered the song to be titled "Mongolian Rhapsody". It was explained that he wrote the title along with the lyrics in 1974 on a page of stationery from defunct airline British Midland Airways, but crossed out the word "Mongolian" in place of "Bohemian".

Composition and analysis
"Bohemian Rhapsody" has been affiliated to the genres of progressive rock (sometimes called symphonic rock), hard rock,  art rock, and progressive pop. The song is highly unusual for a popular single in featuring no chorus, combining disparate musical styles, and containing lyrics which eschew conventional love-based narratives, and instead make allusions to murder and nihilism.

Music scholar Sheila Whiteley suggests that "the title draws strongly on contemporary rock ideology, the individualism of the bohemian artists' world, with rhapsody affirming the romantic ideals of art rock". Commenting on bohemianism, Judith Peraino said,

"Mercury intended ... [this song] to be a 'mock opera', something outside the norm of rock songs, and it does follow a certain operatic logic: Choruses of multi-tracked voices alternate with aria-like solos, the emotions are excessive, the plot confusing."

"Bohemian Rhapsody" begins with an introduction, then goes into a piano ballad, before a guitar solo leads to an operatic interlude. A hard rock part follows this and it concludes with a coda. The song is in the keys of B♭ major, E♭ major, A major and F major, and is predominantly in meter. This musical format of writing a song as a suite with changes in style, tone, and tempo throughout was uncommon in most mainstream pop and rock music, but common in progressive rock, a genre which had reached its artistic and commercial zenith between 1970 and 1975 in the music of British bands such as Jethro Tull, Yes, Genesis, Emerson, Lake & Palmer, Gentle Giant, Van der Graaf Generator, and Curved Air. The music of progressive rock was characterised by dramatic contrasts, frequent shifts in tempo and in rhythmic character from one section of a composition to the next. Bands from the genre blended rock with classical music, including its structural features, compositional practices, and instrumentation. Queen had embraced progressive rock as one of their many diverse influences.

"Bohemian Rhapsody" parodies many different elements of opera by using bombastic choruses, sarcastic recitative, and distorted Italian operatic phrases. An embryonic version of this style had already been used in Mercury's earlier compositions for the band's "My Fairy King" (1973) and "The March of the Black Queen" (1974).

Intro (0:00–0:49)
The song begins with a close five-part harmony a cappella introduction in B♭ major—as evidenced by the presence of a V–I cadence (F7–B♭) multi-track recordings of Mercury although the video has all four members lip-syncing this part. The lyrics question whether life is "real" or "just fantasy caught in a landslide" before concluding that there can be "no escape from reality". The section is nearly entirely in 4/4 time, with the exception of measures 3 ("Caught in a landslide, no es—") and 9 ("I need no sympathy, because I'm") switching to 5/4 time, then returning to 4/4 after.

After 20 seconds, the grand piano enters, the song modulates briefly to E♭ major via another perfect cadence (B♭7–E♭) and Mercury's voice alternates with the other vocal parts. The narrator introduces himself as "just a poor boy" but declares that he "needs no sympathy" because he is "easy come, easy go" and then "little high, little low" (when heard in stereo, the words "little high" come from the left speaker and "little low" comes from the right, the other respective speaker plays the piano at the same time); chromatic side-slipping on "easy come, easy go" highlights the dream-like atmosphere. The end of this section is marked by the bass entrance and the cross-handed piano vamp in B♭.

Ballad (0:49–2:37)
The piano begins in B♭ major along with the entrance of John Deacon's bass guitar, marking the onset of this section. After it plays twice, Mercury's vocals enter. Throughout the section, the vocals evolve from a softly sung harmony to an impassioned solo performance by Mercury. The narrator explains to his mother that he has "just killed a man", with "a gun against [the man's] head" and in doing so, has thrown his life away. This "confessional" section, Whiteley comments, is "affirmative of the nurturant and life-giving force of the feminine and the need for absolution". In the middle of the verse (1:19), Taylor's drums enter, and a descending chromatic run leads to a temporary modulation to E♭ major (up one fourth). The narrator makes the second of several invocations to his "mama" in the new key, continuing the original theme. The narrator explains his regret over "mak[ing] you cry" and urging "mama" to "carry on as if nothing really matters". A brief, descending variation of the piano phrase connects to the second verse.

Then the piano intro plays, marking the start of the second verse. As the ballad proceeds into its second verse, the speaker confesses how ashamed he is by his act of murder (as May enters on guitar and mimics the upper range of the piano at 1:50). May imitates a bell tree during the line "sends shivers down my spine", by playing the strings of his guitar on the other side of the bridge. The narrator bids the world goodbye announcing he has "got to go" and prepares to "face the truth" admitting "I don't want to die / I sometimes wish I'd never been born at all". This is where the guitar solo enters.

Guitar solo (2:37–3:05)
Towards the end of the ballad section, the band builds in intensity, incorporating a guitar solo (in E♭ major) played and composed by Brian May. The intensity continues to build, but once the bass line completes its descent establishing modulation to the new key (A major), the entire band cuts out abruptly at 3:03 except for quiet, staccato A major quaver (eighth-note) chords on the piano, marking the start of the "Opera" section.

Opera (3:05–4:07)
A rapid series of rhythmic and harmonic changes introduces a pseudo-operatic midsection, which contains the bulk of the elaborate vocal multi-tracking, depicting the narrator's descent into hell. While the underlying pulse of the song is maintained, the dynamics vary greatly from bar to bar, from only Mercury's voice accompanied by a piano to a multi-voice choir supported by drums, bass, piano, and timpani. The choir effect was created by having May, Mercury, and Taylor repeatedly sing their vocal parts, resulting in 180 separate overdubs. These overdubs were then combined into successive submixes. According to Roger Taylor, the voices of May, Mercury, and himself combined created a wide vocal range: "Brian could get down quite low, Freddie had a powerful voice through the middle, and I was good at the high stuff." The band wanted to create "a wall of sound, that starts down and goes all the way up". The band used the bell effect for lyrics "Magnifico" and "let me go". Also, on "let him go", Taylor singing the top section carries his note on further after the rest of the "choir" have stopped singing.

Lyrical references in this passage include Scaramouche, the fandango, Galileo Galilei, Figaro, and Beelzebub, with cries of "Bismillah! [Arabic: "In the name of God!"] We will not let you go!", as rival factions fight over his soul, some wishing to "let [him] go" and "spare him his life from this monstrosity", with others sending him "thunderbolts and lightning – very, very frightening [to him]". In Freddie Mercury: The Definitive Biography, Lesley-Ann Jones theorises that it is also a figurative representation of the four members: Mercury, May, Taylor, and Deacon respectively. The section concludes with a full choral treatment of the lyric "Beelzebub has a devil put aside for me!", on a block B♭ major chord. Roger Taylor tops the final chord with a falsetto B♭ in the fifth octave (B♭5).

Using the 24-track technology available at the time, the "opera" section took about three weeks to finish. Baker said, "Every time Freddie came up with another Galileo, I would add another piece of tape to the reel." Baker recalls that they kept wearing out the tape, which meant having to do transfers.

Hard rock (4:07–4:54)
The operatic section leads into a rock interlude with a guitar riff written by Mercury. At 4:15, a quadruple-tracked Mercury (in stereo, the four parts are panned two on the left and two on the right) sings angry lyrics addressed to an unspecified "you", accusing them of betrayal and abuse and insisting "can't do this to me, baby", before the final lines conclude that the singer "just gotta get right outta" an unspecified "here". Three ascending guitar runs follow. Mercury then plays a similar B♭ run on the piano, as the song builds up to the finale with a ritardando.

Outro (4:54–5:55)
After Mercury plays ascending octaves of notes from the B♭ mixolydian mode (composed of the notes from the E♭ scale), the song then returns to the tempo and form of the introduction, initially in E♭ major, before quickly modulating to C minor, only to soon go through an abrupt short series of modulations, bringing it back to C minor again in time for the final "nothing really matters" section. A guitar accompanies the chorus "ooh, ooh yeah, ooh yeah". A double-tracked twin guitar melody is played through an amplifier designed by John Deacon, affectionately nicknamed the "Deacy Amp". Mercury's line "Nothing really matters ..." appears again, "cradled by light piano arpeggios suggesting both resignation (minor tonalities) and a new sense of freedom in the wide vocal span". After the line "nothing really matters" is repeated multiple times, the song finally concludes in the key of E♭ major, but then changes again to F major just before it ends. The final line, "Any way the wind blows", is followed by the quiet sound of a large tam-tam that finally expels the tension built up throughout the song.

Lyrics
The New York Times commented that "the song's most distinct feature is the fatalistic lyrics". Mercury refused to explain his composition other than to say it was about relationships; the band is still protective of the song's secret. Brian May supports suggestions that the song contained veiled references to Mercury's personal traumas. He recalls "Freddie was a very complex person: flippant and funny on the surface, but he concealed insecurities and problems in squaring up his life with his childhood. He never explained the lyrics, but I think he put a lot of himself into that song." May, though, says the band had agreed that the core of a lyric was a private issue for the composer. In a BBC Three documentary about the making of "Bohemian Rhapsody", Roger Taylor maintains that the true meaning of the song is "fairly self-explanatory with just a bit of nonsense in the middle".

Despite this, critics, both journalistic and academic, have speculated over the meaning behind the song's lyrics. Some believe the lyrics describe a suicidal murderer haunted by demons or depict events just preceding an execution. The latter explanation points to Albert Camus's novel The Stranger, in which a young man confesses to an impulsive murder and has an epiphany before he is executed, as probable inspiration. When the band released a Greatest Hits cassette in Iran, a leaflet in Persian was included with translation and explanations. In the explanation, Queen states that "Bohemian Rhapsody" is about a young man who has accidentally killed someone and, like Faust, sold his soul to the devil. On the night before his execution, he calls for God saying, "Bismillah" ("In the name of God" in Arabic), and with the help of angels, regains his soul from Shaitan (the devil in Arabic).

Other critics interpreted the lyrics as Mercury's way of dealing with personal issues. Music scholar Sheila Whiteley observes that Mercury reached a turning point in his personal life in the year he wrote "Bohemian Rhapsody". He had been living with Mary Austin for seven years but had just embarked on his first love affair with a man. She suggests that the song provides an insight into Mercury's emotional state at the time, "living with Mary ('Mamma', as in Mother Mary) and wanting to break away ('Mamma mia let me go')". Others suggest it as a veiled reference to coming out, and dealing with the repercussions of the sodomy laws of the time. In addition, the song can be interpreted as coming from the perspective of a person on death row, reflecting on their life and preparing for their last moments.

Still others believe the lyrics were only written to fit with the music, and had no intended meaning; the D.J., television entertainer, and comedian Kenny Everett, who played an influential role in popularising the single on his radio show on Capital Radio, quoted Mercury as claiming the lyrics were simply "random rhyming nonsense".

Release
When the band wanted to release the single in 1975, various executives suggested to them that due to its length of 5 minutes and 55 seconds, it was too long and would never be a hit. The song was played to other musicians who commented the band had no hope of it ever being played on radio. According to Baker, he and the band bypassed this corporate assessment by playing the song for Everett:
 * "we had a reel-to-reel copy but we told him he could only have it if he promised not to play it. 'I won't play it,' he said, winking ..."

The plan worked — Everett teased his listeners by playing only parts of the song. Audience demand intensified when Everett played the full song on his show 14 times in 2 days. Hordes of fans attempted to buy the single the following Monday, only to be told by record stores that it had not yet been released. The same weekend, Paul Drew, who ran the RKO General stations in the U.S, heard the track on Everett's show in London. Drew managed to get a copy of the tape and started to play it in the U.S, which forced the hand of Queen's US label, Elektra Records. In an interview with Sound on Sound, Baker observed that "it was a strange situation where radio on both sides of the Atlantic was breaking a record that the record companies said would never get airplay!"

Eventually the unedited single was released, with "I'm in Love with My Car" as the B-side. Following Everett's escapade in October 1975, Eric Hall, a record plugger, gave a copy to David "Diddy" Hamilton to play on his weekday Radio One show. Hall stated "Monster, Monster! This could be a hit!"

The song became the 1975 UK Christmas number one, holding the top position for nine weeks. "Bohemian Rhapsody" was the first song ever to get to number one in the UK twice with the same version, and is also the only single to have been Christmas number one twice with the same version. The second was upon its re-release (as a double A-side single with "These Are the Days of Our Lives") in 1991, following Mercury's death, staying at number one for five weeks. The re-released version sold 673,000 copies in 1991 in the UK.

In the US, the single was also a success, although initially to a lesser extent than in the UK. The single, released in December 1975, reached number nine on the Billboard Hot 100 and was certified gold by the Recording Industry Association of America for sales of one million copies.

In a retrospective article, Anthony DeCurtis of Rolling Stone explained why the song performed less strongly in the US charts by saying that it is "the quintessential example of the kind of thing that doesn't exactly go over well in America". Its chart run of 24 weeks, however, placed it at number 18 on Billboard's year-end chart, higher than some number 1s of the year. With the Canadian record-buying public, the single fared better, reaching number one in the RPM national singles chart for the week ending 1 May 1976.

In the US, "Bohemian Rhapsody" was re-released as a double A-side cassette single with "The Show Must Go On" in January 1992, two months after the death of Freddie Mercury, with proceeds going to the Magic Johnson Foundation for AIDS research. The song re-entered the Billboard Hot 100 chart after 16 years, reaching number two, and spending 17 weeks on the chart. After the release of the Queen biopic named after the song, it re-entered the charts for a third time at number 33, marking 26 years since it last charted.

In March 2021 it was certified Diamond (10× platinum) in the US for combined digital sales and streams equal to 10 million units. It had sold 4.4 million digital copies in the US.

Promotional video
Though some artists had made video clips to accompany songs (including Queen themselves; for example, their earlier singles "Keep Yourself Alive", "Liar", "Seven Seas of Rhye" and "Killer Queen" already had "pop promos", as they were known at the time), it was only after the success of "Bohemian Rhapsody" that it became a regular practice for record companies to produce promotional videos for artists' single releases. The Guardian stated it "ensured videos would henceforth be a mandatory tool in the marketing of music". These videos could then be shown on television shows around the world, such as the BBC's Top of the Pops, without the need for the artist to appear in person. A promo video also allowed the artist to have their music broadcast and accompanied by their own choice of visuals rather than dancers such as Pan's People. According to May, the video was produced so that the band could avoid miming on Top of the Pops, since they would have looked off miming to such a complex song. He also said that the band knew they would be set to appear at Dundee's Caird Hall on tour, a date which clashed with the programme, thus a promo would solve the issue. The video has been hailed as launching the MTV age.

The band used Trillion, a subsidiary of Trident Studios, their former management company and recording studio. They hired one of their trucks and got it to Elstree Studios in Hertfordshire, where the band were rehearsing for their tour. The video was directed by Bruce Gowers, who had directed a video of the band's 1974 performance at the Rainbow Theatre in London, and was recorded by cameraman Barry Dodd and assistant director/floor manager Jim McCutcheon. The video was recorded in just four hours on 10 November 1975, at a cost of £4,500. Gowers reported that the band was involved in the discussion of the video and the result, and "was a co-operative to that extent, but there was only one leader."

The video opens with a shot of the four band members standing in diamond formation with their heads tilted back in near darkness as they sing the a cappella part. The lights fade up, and the shots cross-fade into close-ups of Mercury. The composition of the shot is the same as Mick Rock's cover photograph for their second album Queen II. The photo, inspired by a photograph of actress Marlene Dietrich, was the band's favourite image of themselves. The video then fades into them playing their instruments. In the opera section of the video, the scene reverts to the Queen II standing positions, after which they perform once again on stage during the hard rock segment. In the closing seconds of the video Roger Taylor is depicted stripped to the waist, striking the tam-tam in the manner of the trademark of the Rank Organisation's Gongman, familiar in the UK as the opening of all Rank film productions.

All of the special effects were achieved during the recording, rather than editing. The visual effect of Mercury's face cascading away (during the echoed lines "Magnifico" and "Let me go") was accomplished by pointing the camera at a monitor, giving visual feedback, a glare analogous to audio feedback. The honeycomb illusion was created using a shaped lens. The video was edited within five hours because it was due to be broadcast the same week in which it was taped. The video was sent to the BBC as soon as it was completed and aired for the first time on Top of the Pops in November 1975.

Critical reception
Although the song has become one of the most revered in popular music history, the initial critical reaction was mixed. The UK music papers reacted with bemusement, recognising that the song was original and technically accomplished, but they mostly remained indifferent. Pete Erskine of NME observed that, "It'll be interesting to see whether it'll be played in its entirety on the radio. It's performed extremely well, but more in terms of production than anything else... Someone somewhere has decided that the boys' next release must sound 'epic'. And it does. They sound extremely self-important."

Allan Jones of Melody Maker was unimpressed, describing the song as "a superficially impressive pastiche of incongruous musical styles" and that Queen "contrived to approximate the demented fury of the Balham Amateur Operatic Society performing The Pirates of Penzance... 'Bohemian Rhapsody' is full of drama, passion and romance and sounds rather like one of those mini-opera affairs that Pete Townsend [sic] used to tack on to the end of Who albums", before concluding, "The significance of the composition eludes me totally, though I must admit to finding it horrifically fascinating. It's likely to be a hit of enormous proportions despite its length." Ray Fox-Cumming of Record Mirror was also left unmoved, saying, "It has no immediate selling point whatsoever: among its many parts. there's scarcely a shred of a tune and certainly no one line to latch onto. There's no denying that it's devilishly clever, encompassing everything from bits of operatic harmonies to snatches that sound like Sparks and David Cassidy, but, in the end the whole adds up to less than the sum of its parts." He did, however, say that it was "unthinkable" that it wouldn't be a hit. The most positive review came from Sounds, which called it "impossibly disjointed and complex, but a dazzlingly clever epic from the fevered mind of Freddie Mercury". Cash Box called it "a softly sung ode to the prospect of moving on from staid ways" with "good singing" and "good production." Record World called it "a majestic vocal performance that takes on operatic proportions."

Musical impact

In 1976, when asked for his opinion on "Bohemian Rhapsody", the Beach Boys' leader Brian Wilson praised the song as "the most competitive thing that's come along in ages" and "a fulfillment and an answer to a teenage prayer—of artistic music". Producer Steve Levine said the track broke "all sonic production barriers" in a fashion similar to the Beach Boys' "Good Vibrations" (1966), which also consisted of disparate music sections recorded separately, Phil Spector's "Be My Baby" (1963), and 10cc's "I'm Not in Love" (1975). Greg Lake, whose song "I Believe in Father Christmas" was kept from number one in the UK by "Bohemian Rhapsody" when it was released in 1975, acknowledged that he was "beaten by one of the greatest records ever made", describing it as "a once-in-a-lifetime recording".

Addressing the song's enduring popularity, author and music lecturer Jochen Eisentraut wrote in 2012: "A year before punk made it unfashionable, progressive rock had an astounding success with the theoretically over-length (nearly 6-minute) single 'Bohemian Rhapsody' which bore many of the hallmarks of the 'prog' genre". He said it was "unique at this point to hear a hit single in this style", it was "more accessible than other music of the genre" and was "able to communicate beyond the usual confines of the style". Author and progressive rock historian Stephen Lambe called it a "remarkable" single and said it "provides a neat but coincidental bridge between prog in its prime and the move to more aggressive songwriting", suggesting the song "feels like a grotesque (although probably unintentional) parody of progressive rock". The New Rolling Stone Album Guide described it as "either a prog-rock benchmark or the most convoluted novelty song ever recorded". Writing for the BBC in 2015, the Chicago Tribune's music critic Greg Kot called it a "prog-rock pocket operetta" and said the song's "reign as a work of wigged-out genius rather than a dated gimmick testifies to its go-for-broke attitude—one that has resonated across generations".

In 2009, The Guardian's music critic, Tom Service, examined the song's relationship with the traditions of classical music, describing its popularity as "one of the strangest musical phenomena out there":

"The precedents of "Bohemian Rhapsody" are as much in the 19th-century classical traditions of rhapsodic, quasi-improvisational reveries—like, say, the piano works of Schumann or Chopin or the tone-poems of Strauss or Liszt—as they are in prog-rock or the contemporary pop of 1975. That's because the song manages a sleight of musical hand that only a handful of real master-musicians have managed: the illusion that its huge variety of styles—from intro, to ballad, to operatic excess, to hard-rock, to reflective coda—are unified into a single statement, a drama that somehow makes sense. It's a classic example of the unity in diversity that high-minded musical commentators have heard in the symphonies of Beethoven or the operas of Mozart. And that's exactly what the piece is: a miniature operatic-rhapsodic-symphonic-tone-poem."

A comparison was also made between the song and Led Zeppelin's 1971 epic "Stairway to Heaven" by music writers Pete Prown and HP Newquist. They observed both songs were "a slow, introspective beginning and gradual climb to a raging metal jam and back again", with the notable distinction being "while Zeppelin meshed folk influences with heavy metal, Queen opted for the light grandeur of the operetta as part of its hard rock". They said "for sheer cleverness alone, not to mention May's riveting electric work, 'Bohemian Rhapsody' rightfully became one of the top singles of 1975 and established Queen in the elite of seventies rock bands".

In 2015, The Economist described it as "one of the most innovative pieces of the progressive rock era". It wrote "though Led Zeppelin's John Paul Jones and the Beatles' Paul McCartney had experimented with symphonic elements, and Roger Waters of Pink Floyd and Pete Townshend of the Who had created narrative albums with distinct 'movements', none had had the audacity to import a miniature opera into rock music."

Wayne's World
In 1992, the song enjoyed renewed popularity in the United States after being featured in a scene in the film Wayne's World, in which the titular character and his friends headbang in a car to the hard rock part near the end of the song. The film's director, Penelope Spheeris, was hesitant to use the song, as it did not entirely fit with the lead characters, who were fans of less flamboyant hard rock and heavy metal. Mike Myers insisted that the song fit the scene. According to music scholar Theodore Gracyk, by 1992, when the film was released, even "classic rock" stations had stopped playing the almost six-minute song. Gracyk suggests that beginning the tape in the middle of the song after "the lyrics which provide the song's narrative ... forces the film's audience to respond to its presence in the scene without the 'commentary' of the lyrics". Helped by the song, the soundtrack album of the film was a major hit.

In connection with this, a new video was released, interspersing excerpts from the film with footage from the original Queen video, along with some live footage of the band. Myers was horrified that the record company had mixed clips from Wayne's World with Queen's original video, fearing that this would upset the band. He said, "they've just whizzed on a Picasso." He asked the record company to tell Queen that the video was not his idea and that he apologised to them. The band, though, sent a reply simply saying, "Thank you for using our song." This astonished Myers, who responded, "Thank you for even letting me touch the hem of your garments!"

The Wayne's World video version of "Bohemian Rhapsody" won Queen its only MTV Video Music Award for "Best Video from a Film". When remaining members Brian May and Roger Taylor took the stage to accept the award, Brian May was overcome with emotion and said that "Freddie would be tickled." In the final scene of the video, a pose of the band from the video from the original "Bohemian Rhapsody" clip morphs into an identically posed 1985 photo, first featured in the "One Vision" video.

In the 2018 Queen biopic feature film Bohemian Rhapsody, Myers makes a cameo as a fictional record executive who pans the song and refuses to release it as a single, proclaiming that it is too long for radio and that it is not a song that "teenagers can crank up the volume in their car and bang their heads to", a reference to the aforementioned scene in Wayne's World.

Achievements and accolades
The song has won numerous awards and has been covered and parodied by many artists. At the 19th Annual Grammy Awards in February 1977, "Bohemian Rhapsody" received two Grammy Award nominations for Best Pop Vocal Performance by a Duo, Group or Chorus and Best Arrangement for Voices. In October 1977, only two years after its release, the British Phonographic Industry named "Bohemian Rhapsody" as the best British single of the period 1952–77. It is a regular entry in greatest-songs polls, and it was named by the Guinness Book of Records in 2002 as the top British single of all time. The song is also listed in the Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.

In 2004, the song was inducted into the Grammy Hall of Fame. , "Bohemian Rhapsody" is the second most-played song on British radio, in clubs and on jukeboxes collectively, after Procol Harum's "A Whiter Shade of Pale". On 30 September 2007 for BBC Radio 1's 40th birthday, it was revealed on The Radio 1 Chart Show that "Bohemian Rhapsody" had been the most played song since Radio 1's launch.

In December 2018, "Bohemian Rhapsody" officially became the most-streamed song from the 20th century, surpassing Nirvana's "Smells Like Teen Spirit" and Guns N' Roses' "Sweet Child o' Mine". "Bohemian Rhapsody" also became the most-streamed classic rock song of all time. The number of downloads of the song and original video exceeded 1.6 billion downloads across global on-demand streaming services. The video surpassed one billion views on YouTube in July 2019, making it the oldest music video to reach one billion on the platform, and the first pre-1990s song to reach that figure.

In 2022, the single was selected by the U.S. Library of Congress for preservation in the National Recording Registry as being "culturally, historically, or aesthetically significant."

Polls
In a 2001 poll of more than 50,000 readers of The Observer newspaper and viewers of British TV's Channel 4 for the 100 best number-one singles of all time, the song came second to John Lennon's "Imagine". In a 2002 poll of more than 31,000 people conducted for Guinness World Records' British Hit Singles, "Bohemian Rhapsody" was voted Britain's favourite single, beating Lennon's "Imagine" to the top spot. In 2002, it came in 10th in a BBC World Service poll to find the world's favourite song.

In the Netherlands, Bohemian Rhapsody has been in the top five of the annual year's end "Top 100 Aller Tijden" ("All-Time Top 100 [Singles]") since 1977, topping the list eight times, more than any other artists. Since 1999, the Dutch "Top 2000" pop music poll supplanted the Top-100, to list and play the 2,000 all-time greatest songs annually in December, and the song has been ranked first in all but five years (2005, 2010, 2014, 2015 and 2020, when it was runner up).

In a 2012 readers poll conducted by Rolling Stone magazine, "Bohemian Rhapsody" was voted the best vocal performance in rock history. In 2010, the song ranked at 166 on Rolling Stone's "500 Greatest Songs of All Time" list, and was re-ranked at number 17 in 2021.

In 2012, the song topped an ITV poll in the UK to find "The Nation's Favourite Number One" over 60 years of music, ahead of Michael Jackson's "Billie Jean" (number two), Adele's "Someone like You" (number three), Oasis' "Don't Look Back in Anger" (number four) and The Beatles' "Hey Jude" (number five). The song was also ranked number five in RadioMafia's list of "Top 500 Songs".

Cover versions

Over two dozen artists have recorded or performed cover versions of "Bohemian Rhapsody", including charted single releases by:
 * Bad News – a 1986 spoof version produced by Brian May which reached UK number 44
 * The Braids – an R&B version recorded for the soundtrack to the 1996 film High School High and which peaked at UK number 21, US number 42, and Canada number 13
 * Panic! at the Disco – a version recorded for the soundtrack of the 2016 film Suicide Squad and which peaked at UK number 80, US number 64 and Canada number 47

A video cover featuring The Muppets also went viral and was subsequently released as a single in late 2009, peaking at number 32 in the UK.

"Weird Al" Yankovic's 1993 album Alapalooza includes a version of the song entitled "Bohemian Polka", which is a rearrangement of the entire song as a polka.

40th anniversary
To mark the 40th anniversary of "Bohemian Rhapsody", the song was released on a limited edition 12" vinyl with the original B-side "I'm In Love With My Car" on 27 November 2015 for Record Store Day 2015. Queen also released A Night At The Odeon, Live At Hammersmith 75, on CD, DVD-Video and Blu-ray. This includes the first live "professionally" recorded performance of "Bohemian Rhapsody". However, the first recording and live performance of "Bohemian Rhapsody" was the performance on 14 November 1975 in Liverpool.

Auction
From 4 August to 5 September 2023, the Freddie Mercury: A World of His Own exhibition was held at Sotheby's in New Bond Street, London where almost 1,500 items of Mercury's went on display before being sold across six auctions. His Yamaha baby grand piano, which he used to compose "Bohemian Rhapsody", sold for £1.7 million, while his handwritten lyrics for the song went for £1.38 million. A silver snake bangle worn by Mercury in the "Bohemian Rhapsody" music video was sold for £698,500.

Live performances
The a cappella opening was too complex to perform live, so Mercury tried various ways of introducing the song. When "Mustapha" became a live favourite, Mercury would often sub in that song's a cappella opening, which was easier to reproduce live as it was only one voice—this combination features in their 1979 live album Live Killers. During their 1982 Hot Space Tour, and occasionally at other times, Mercury would do a piano improvisation (generally the introduction to "Death on Two Legs") that ended with the first notes of the song. Often, the preceding song would end, and Mercury would sit at the piano, say a quick word, and start playing the ballad section. At Live Aid where "Bohemian Rhapsody" was their opening song, Mercury commenced with the ballad section.

Initially following the song's release, the operatic middle section proved a problem for the band. Because of extensive multi-tracking, it could not be performed on stage. The band did not have enough of a break between the Sheer Heart Attack and A Night at the Opera tours to find a way to make it work live, so they split the song into three sections that were played throughout the night. The opening and closing ballads were played as part of a medley, with "Killer Queen" and "March of the Black Queen" taking the place of the operatic and hard rock sections. In 1976 concerts where the same medley was played, the operatic section from the album would be played from tape as the introduction to the setlist. During this playback, Mercury would appear briefly to sing live for the line, "I see a little sillhouetto of a man". As the song segued into the hard rock section, the band would emerge on the smoke-filled stage—the playback would end at this point, and the hard rock section would be performed live (without the final ballad section, which appeared later in the set).

Starting with the A Day at the Races Tour in 1977, the band adopted their lasting way of playing the song live. The opening ballad would be played on stage, and after May's guitar solo, the lights would go down, the band would leave the stage, and the operatic section would be played from tape, while coloured stage lights provided a light show based around the voices of the opera section. Most playings of the opera section from the tape would often be accompanied by a portion of the song's music video containing the footage used for the operatic portion of the song. Other playings would be played over montages of footage filmed from the band members' other experiences throughout their daily lives. A blast of pyrotechnics after Taylor's high note on the final "for me" would announce the band's return for the hard rock section and closing ballad. Queen played the song in this form all through the Magic Tour of 1986. This style was also used for the Freddie Mercury Tribute Concert, with Elton John singing the opening ballad and then after the taped operatic section, Axl Rose singing the hard rock section. John and Rose sang the closing ballad part together in a duet.

"Bohemian Rhapsody" was performed by Queen + Paul Rodgers throughout their tours, accompanied by a video of Mercury. Footage from the Live at Wembley '86 was used for the 2005–06 tour, and the 1981 Montreal performance used for the Rock the Cosmos Tour. As with the Queen tours, the band went backstage for the operatic section, which was accompanied by a video tribute to Freddie Mercury. When the hard rock section began, the lights came back up to the full band on stage, including Rodgers, who took over lead vocals. Rodgers duetted with the recording of Mercury for the "outro" section, allowing the audience to sing the final "Nothing really matters to me", while the taped Mercury took a bow for the crowd. Rodgers would then repeat the line, and the final line ("Any way the wind blows") was delivered with one last shot of Mercury smiling at the audience. Commenting upon this staging, Brian May says that they "had to rise to the challenge of getting Freddie in there in a way which gave him his rightful place, but without demeaning Paul in any way. It also kept us live and 'present', although conscious and proud of our past, as we logically should be."

Since 2012, May and Taylor have toured with former American Idol contestant Adam Lambert under the name Queen + Adam Lambert (following two one-off performances together in 2009 and 2011), with "Bohemian Rhapsody" regularly included at the end of their set.

Queen comments on the song
"I always wanted to do something operatic. I wanted something with a mood setter at the start, going into a rock type of thing which completely breaks off into an opera section, a vicious twist and then returns to the theme. I don't really know anything about opera myself. Just certain pieces. I wanted to create what I thought Queen could do. It's not authentic... certainly not. It's no sort of pinch out of Magic Flute. It was as far as my limited capacity could take me."

- Freddie Mercury, 1976

"I'm going to shatter some illusions, it was just one of those pieces I wrote for the album: just writing my batch of songs. In its early stages I almost rejected it, but then it grew. We started deciding on a single about halfway through. There were a few contenders—we were thinking of "The Prophet's Song" at one point—but then "Bohemian Rhapsody" seemed the one. There was a time when the others wanted to chop it around a bit, but I refused. If it was going to be released, it would be in its entirety. We knew it was very risky, but we had so much confidence in that song—I did anyway. I felt, underneath it all, that if it was successful it would earn a lot of respect. People were all going, You're joking, they'll never play it, you'll only hear the first few bars and then they'll fade it out. We had numerous rows. EMI were shocked—a six-minute single? You must be joking! The same in America—oh, you just got away with it in Britain."

- Freddie Mercury, 1976

"When we finished the album, the Night at the Opera album, that was the track on it that we thought we were gonna release as a single in the UK first. And when we released it in Britain we didn't necessarily think it'd be released in America, cause we know even over here, you know, the AM tastes are even more [hesitates] stricter. Anyway we did have thoughts about even in the UK, perhaps editing it down at all, but we listened to it over and over again and there was no way we could edit it. We tried a few ideas, but if you edited it, you always lost some part of the song, so we had to leave it all in. And luckily it took off anyway."

- John Deacon, 1977

"The vocal harmonies was something we wanted to do from the beginning, as we are always keen to do that kind of thing. We wanted to be a group that could do the heaviness of hard rock, but also have harmonies swooping around all over the place. We thought there was some real power and emotion in that combination. The guitar solo was pretty much off the cuff, except I think I had plenty of time to think about that one. I remember playing along with it in the studio for a while when other things were being done. I knew what kind of melody I wanted to play."

- Brian May, 1982

Personnel
Source:
 * Freddie Mercury – lead and backing vocals, piano, operatic vocals (middle register)
 * Brian May – electric guitar, operatic vocals (low register)
 * Roger Taylor – drums, timpani, gong, operatic vocals (high register)
 * John Deacon – bass guitar

title: Bohemian Rhapsody


text:
User talk:Shd~enwiki

Farscape
Seeing that you have spent time on the List of Farscape episodes page, thought I'd let you know we've started creating articles for individual episodes. So far, I have created them for the entire first season although many are just place holders at the moment. Obviously, much new info will be needed (expanded synopsis, pop culture references, production trivia). RoyBatty42 19:49, 8 January 2007 (UTC)

Proposed deletion of Amiga demos

The article Amiga demos has been proposed for deletion  because of the following concern:
 * An article based on original research and primary sources.

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Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Shd. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Shd~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 02:40, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 18:47, 22 April 2015 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 08:51, 23 November 2015 (UTC)

Proposed deletion of File:Kahn process network 1.png

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Proposed deletion of File:KPN process state machine 1.png

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"Negative semidefinite" listed at Redirects for discussion
A discussion is taking place to address the redirect Negative semidefinite. The discussion will occur at Redirects for discussion/Log/2020 June 9 until a consensus is reached, and anyone, including you, is welcome to contribute to the discussion. 1234qwer1234qwer4 (talk) 14:36, 9 June 2020 (UTC)

Proposed deletion of File:Kahn process network 1 as petri net.png

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Nomination of Turboraketti for deletion
A discussion is taking place as to whether the article Turboraketti is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

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title: User talk:Shd~enwiki


text:
User:Vaganyik

Articles I started.

Fanny Burney

Maria Edgeworth: Castle Rackrent, The Absentee

Mary Elizabeth Braddon: Lady Audley's Secret

Angry Young Men, William Styron, Sophie's Choice, Douglas Dunn, Tony Harrison, Carol Ann Duffy

Cameron Diaz, Grace Kelly, Gwyneth Paltrow, Sophie Marceau, Sharon Stone, Ashley Judd, Rebecca De Mornay, Barbara Stanwyck, Brooke Shields, Andie MacDowell, Cybill Shepherd, Virginie Ledoyen, Sienna Guillory, Heather Locklear, Erica Leerhsen

Amos Kollek, minidisc, Melrose Place, John Badham

Monolingual learners' dictionaries, COBUILD, Collins, Merriam-Webster

title: User:Vaganyik


text:
User talk:Vaganyik

Excellent! Another connoissur of Queen. Welcome aboard - I forsee that your input will be most useful. Power to the wiki! --maveric149

Hello, just wanted to welcome you to the project. I'm glad to see your enthusiasm, but--and sorry to start on a wrong foot--we try to avoid subjective statements on wikipedia. What I mean is that you mentioned Gwyneth Paltrow's "great" films and Grace Kelly's "masterful" performances, and those are opinions not everyone may agree with (film is a highly subjective medium). It is, however, fair game to mention what various critics thought of the actors, or how the acting was received at various film festivals or at the Oscars. Best, and keep contributing please, Koyaanis Qatsi

Hello again, the message was in the right place. Some users put theirs on the talk page--logically enough; my chitchat has just stayed on the main page where it started because I like it there. Anyway, don't worry about the adjectives, enthusiasm is not a bad thing. And my first few entries were much much worse than the ones you added; they tended to gush or rant, and I'm glad that they're lost now with the conversion to the new software. :-D Koyaanis Qatsi

Thank you Vaganyik. I much appreciate your help and offer of help in future. I will be happy to use it. szopen

Developing (film)
Another editor has added the  template to the article Developing (film), suggesting that it be deleted according to the proposed deletion process. All contributions are appreciated, but the editor doesn't believe it satisfies Wikipedia's criteria for inclusion, and has explained why in the article (see also What Wikipedia is not and Notability). Please either work to improve the article if the topic is worthy of inclusion in Wikipedia or discuss the relevant issues at its talk page. If you remove the  template, the article will not be deleted, but note that it may still be sent to Articles for deletion, where it may be deleted if consensus to delete is reached. BJBot (talk) 22:02, 28 February 2008 (UTC)

Best of the Web Directory
A proposed deletion template has been added to the article Best of the Web Directory, suggesting that it be deleted according to the proposed deletion process. All contributions are appreciated, but this article may not satisfy Wikipedia's criteria for inclusion, and the deletion notice should explain why (see also "What Wikipedia is not" and Wikipedia's deletion policy). You may prevent the proposed deletion by removing the  notice, but please explain why you disagree with the proposed deletion in your edit summary or on its talk page. Also, please consider improving the article to address the issues raised. Even though removing the deletion notice will prevent deletion through the proposed deletion process, the article may still be deleted if it matches any of the speedy deletion criteria or it can be sent to Articles for Deletion, where it may be deleted if consensus to delete is reached. If you agree with the deletion of the article, and you are the only person who has made substantial edits to the page, please add  to the top of Best of the Web Directory. Deb (talk) 18:57, 24 March 2008 (UTC)

Sorry about that!
With all of the small articles concerning really non-notable software that lands here, sometimes good stuff gets deleted. I pulled the trigger too quickly and I've restored it for you. Thanks for letting me know and please accept my apologies. I've restored the article for you. Welcome back! --PMDrive1061 (talk) 17:21, 26 January 2009 (UTC)

AfD nomination of NewsFox
An editor has nominated one or more articles which you have created or worked on, for deletion. The nominated article is NewsFox. We appreciate your contributions, but the nominator doesn't believe that the article satisfies Wikipedia's criteria for inclusion and has explained why in his/her nomination (see also "What Wikipedia is not").

Your opinions on whether the article meets inclusion criteria and what should be done with the article are welcome; please participate in the discussion(s) by adding your comments to Articles for deletion/NewsFox. Please be sure to sign your comments with four tildes ( ~ ).

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Please note: This is an automatic notification by a bot. I have nothing to do with this article or the deletion nomination, and can't do anything about it. --Erwin85Bot (talk) 01:57, 29 July 2009 (UTC)

Unreferenced BLPs
Hello Vaganyik! Thank you for your contributions. I am a bot alerting you that 1 of the articles that you created  is tagged as an Unreferenced Biography of a Living Person. The biographies of living persons policy requires that all personal or potentially controversial information be sourced. In addition, to ensure verifiability, all biographies should be based on reliable sources. If you were to bring this article up to standards, it would greatly help us with the current Category:All_unreferenced_BLPs article backlog. Once the article is adequately referenced, please remove the unreferencedBLP tag. Here is the article:

Thanks!--DASHBot (talk) 12:56, 25 January 2010 (UTC)
 * 1) Andrzej Żuławski -

Nice entry for Ghost Commander
I wanted to say thanks for adding Ghost Commander to the List of free and open-source Android applications. It seems relevant and notable, however there is one page maintainer who will repeadetly delete items that don't have their own page because he doesn't think they are notable without a seperate page. I don't agree with this practice, but there is no consensus on how to handle these. Anyway, I wanted to ask if you would be interested in starting a page with a bit of the history/reception/etc about Ghost Commander? I think it would be a good overall improvement.

Proposed deletion of Ghost Commander
Hello, Vaganyik. I wanted to let you know that I’m proposing an article that you started, Ghost Commander, for deletion because I don't think it meets our criteria for inclusion. If you don't want the article deleted:

 * 1) edit the page
 * 2) remove the text that looks like this:
 * 3) save the page

Also, be sure to explain why you think the article should be kept in your edit summary or on the article's talk page. If you don't do so, it may be deleted later anyway.

You can leave a note on my talk page if you have questions. —Swpbtalk 14:41, 25 November 2014 (UTC)

Speedy deletion nomination of Ghost Commander
Just an FYI - you can't delete an article just by removing the content. I've tagged the page for speedy deletion by an admin. —Swpbtalk 15:13, 25 November 2014 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 08:51, 23 November 2015 (UTC)

Nomination of Best of the Web Directory for deletion
A discussion is taking place as to whether the article Best of the Web Directory is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The article will be discussed at Articles for deletion/Best of the Web Directory until a consensus is reached, and anyone is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article. Howicus (Did I mess up?) 22:13, 8 July 2017 (UTC)

Speedy deletion nomination of X window manager

A tag has been placed on X window manager, requesting that it be speedily deleted from Wikipedia. This has been done under section G11 of the criteria for speedy deletion, because the page seems to be unambiguous advertising which only promotes a company, group, product, service, person, or point of view and would need to be fundamentally rewritten in order to become encyclopedic. Please read the guidelines on spam and FAQ/Organizations for more information.

If you think this page should not be deleted for this reason, you may contest the nomination by visiting the page and clicking the button labelled "Contest this speedy deletion". This will give you the opportunity to explain why you believe the page should not be deleted. However, be aware that once a page is tagged for speedy deletion, it may be deleted without delay. Please do not remove the speedy deletion tag from the page yourself, but do not hesitate to add information in line with Wikipedia's policies and guidelines. If the page is deleted, and you wish to retrieve the deleted material for future reference or improvement, then please contact the. w umbolo  ^^^  11:29, 12 September 2018 (UTC)

Nomination of Enlightenment (software) for deletion
A discussion is taking place as to whether the article Enlightenment (software) is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

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Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article. w umbolo  ^^^  09:35, 13 September 2018 (UTC)

Nomination of X window manager for deletion
A discussion is taking place as to whether the article X window manager is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The article will be discussed at Articles for deletion/X window manager until a consensus is reached, and anyone, including you, is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article. w umbolo  ^^^  09:50, 13 September 2018 (UTC)

Rainloop moved to draftspace
An article you recently created, Rainloop, is not suitable as written to remain published. It needs more citations from reliable, independent sources. (?) Information that can't be referenced should be removed (verifiability is of central importance on Wikipedia). I've moved your draft to draftspace (with a prefix of " " before the article title) where you can incubate the article with minimal disruption. When you feel the article meets Wikipedia's general notability guideline and thus is ready for mainspace, please click on the "Submit your draft for review!" button at the top of the page. ... disco spinster   talk  15:57, 23 August 2021 (UTC)

Nomination of RapidFeeds for deletion
A discussion is taking place as to whether the article RapidFeeds is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

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Your draft article, Draft:Rainloop

Hello, Vaganyik. It has been over six months since you last edited the Articles for Creation submission or Draft page you started, "Rainloop".

In accordance with our policy that Wikipedia is not for the indefinite hosting of material deemed unsuitable for the encyclopedia mainspace, the draft has been deleted. If you plan on working on it further and you wish to retrieve it, you can request its undeletion. An administrator will, in most cases, restore the submission so you can continue to work on it.

Thanks for your submission to Wikipedia, and happy editing. ✗ plicit  13:49, 1 March 2022 (UTC)

title: User talk:Vaganyik