‘Queen In 3-D’ Review

The viewer can almost feel the heat generated by the ‘pizza oven’ lighting rig (page 135) or reach out to touch the various drums and cymbals that surround Roger on stage (page 151, for example).

‘Queen In 3-D’ by Brian May

Brian May is an extraordinary individual. Best known as one of the members of the legendary group Queen and widely acknowledged to be one of the most innovative guitarists in the history of rock music, he is also an accomplished astrophysicist with a PhD in interplanetary dust and a tireless campaigner on behalf of the cause of animal welfare. May is also an aficionado of Victorian photography, his interest in which is closed linked to a lifelong passion for the world of 3-D photographs – stereoscopy.

The result is this magnificent book: lavishly packaged, beautifully presented and full of hundreds of previously unseen photographs – many but not all in 3-D – spanning the entirety of Queen’s career up to the final tour with Freddie Mercury in 1986 and beyond to Brian and Roger’s collaborations with Paul Rodgers and Adam Lambert. The extraordinary influence on Brian of his parents – particularly his father, Harold, with whom he famously built his ‘Red Special’ guitar – is also evident through the inclusion of intimate family photographs, including Brian’s first efforts to take 3-D photographs in the back garden as a child and pictures of proud mum and dad visiting Brian on tour in the USA in 1977.

For the reader interested in learning the basics of stereoscopy, there is a full but accessible explanation at the beginning of the book of the principles and techniques of 3-D photography and, throughout, references to the different makes and models of camera used to take various photographs. The real joy of the book, however, is to be found in the photographs themselves – many taken spontaneously – capturing the band and its entourage on and off stage, at work and at play. For the Queen obsessive (like me), there is treasure to be found on every page.

Despite the limitations of camera technology, every phase of the band’s career is well represented, thanks in part to May’s (increasing) willingness to lend his camera(s) to others to capture pictures of the band, particularly on stage. The result is that ‘the early years’ are documented visually as never before – from shots of the band in rehearsal above a long-forgotten pub before the release of the first album to moments of relaxation during the recording of A Night At The Opera. Their tours of Japan are particularly well represented – perhaps because new technology was available to buy over there long before it hit western shops.

Though the older photographs inevitably lack a certain sharpness, the graininess actually serves to enhance their authenticity, irresistibly drawing the viewer into the scene. This book demonstrates that, at its most effective, 3-D photography offers a far more intimate and ‘realistic’ representation of a moment than conventional ‘flat’ photographs. Consider, for example, the feelings of claustrophobia induced in the viewer by the back-of-the-limousine photograph of the band on page 36 and the image of Freddie, Mary and John huddled in an aeroplane crossing the American continent on page 103. The viewer can almost feel the heat generated by the ‘pizza oven’ lighting rig (page 135) or reach out to touch the various drums and cymbals that surround Roger on stage (page 151, for example).

There is a substantial accompanying text (and captions), placing the individual photographs in their historical and geographical context. More than that, the text reads almost as a mini-history of the band, sketchy in places but nevertheless packed with insights and anecdotes, many previously unheard – at least by this reader. As May says in his introduction, the text is entirely his own, unmediated by a co-author or ghost writer. His ‘voice’ is instantly recognisable to visitors to ‘Brian’s Soapbox’ on his website and, for the most part, this works absolutely fine. Only occasionally do detours up and down the byways and ‘B’ roads of May’s many passions threaten to distract us on this wonderfully nostalgic journey – recurring references to animal rights, in particular. Less agreeable are references to up-to-the-minute (2017) political issues – particularly Trump and Brexit – the inclusion of which will inevitably ‘date’ those segments of the text.

Having paid £50 for the book, inevitably I find that the few errors and typos grate – not least, the thank-you dedication to Roger on page 4 (“benificence” – unless that’s an in-joke). There are also references to “Jeff Lynn” and “Max von Sidow”. The involvement of Queen archivist Greg Brooks ensures that the factual history is extremely accurate, though the caption on page 134 that the robot face on Roger’s bass drum was never used in Europe is simply wrong, as many photographs can attest. This reader did feel that the picture of the stage set-up at Madison Square Garden on page 167 was somewhat misleading. Its appearance beneath a chapter-heading stating ‘1980’ with a caption urging the reader to compare it with a picture taken in February 1977 implies a three-year gap between the two photographs, when in fact the page 167 picture is clearly from the News Of The World tour in November 1977 (the magnificent ‘Crown’ lighting rig is clearly visible) – a gap of only a few months. One puzzle is May’s reference to Led Zeppelin’s dramatic lighting effects on stage; he refers to witnessing a powerful performance of Kashmir in Wisconsin. Kashmir appeared on the Physical Graffiti album, released in 1975, but May dates the performance to “just before we were a proper touring entity”. Either his memory is faulty on this point or he is suggesting that Queen only really ‘got their act together’ with the live show from the A Night At The Opera tour later in 1975.

Nonetheless, these minor quibbles – hopefully, corrected or clarified in a future edition – pale into insignificance when set against the many, many delights to be found in this five-star book.

This review was first uploaded to Amazon in May 2017.

Who was Diogenes?

The flimsier the historical evidence, the more entertaining the characters and stories.

Maybe not a ‘law’ of history, but a useful rule of thumb nevertheless. Diogenes has bequeathed us nothing in writing. Instead, into the historical vacuum of evidential mystery and uncertainty rushes a combination of myths, tall tales and caricature. Not so much EP Thompson’s enormous condescension of posterity as its insatiable desire for a good story. Hence the modern-day popularity of tabloid newspapers, celebrity gossip and online ‘clickbait’ stories. Who cares if the reality is altogether more down to earth and prosaic?

There is certainly no shortage of good stories relating to Diogenes: the man who lived in a tub; the man who walked round in daylight with a lamp ‘looking for a man’; the man who was lippy to Alexander the Great and lived to tell the tale; the man who masturbated, urinated and defecated in public.

In fact, other than a few scraps, little is known for certain about Diogenes. He was born in the late fifth century BC in Sinope, a bustling seaport on the Black Sea. As a young man, he was caught up in some sort of scandal, possibly involving his father and the local currency, forcing him to leave his home and possessions behind. One story has him consulting the oracle at Delphi and receiving advice to ‘deface the currency’. At face value, a typically enigmatic oracular pronouncement – given that currency defacement may have been at the heart of the earlier scandal. But, if we interpret ‘currency’ to refer to conventional standards and codes of behaviour, then the instruction becomes one of cocking a snook at polite society, of deliberately upsetting the applecart. If so, this puts him somewhere near the head of a long line of contrarians and non-conformists through history – the sort of people AJP Taylor, in a different context, referred to affectionately as ‘troublemakers’.

The story of Diogenes reminds us of the old truism about taking time to dig deeper rather than rushing to judgement. Diogenes and his master Antisthenes are regarded as the original Cynics, founders of the Cynic school of philosophy. Cynicism, an unappealing and unpleasant attribute, well described by HG Wells as “humour in ill health” is defined by the OED as “[b]elieving that people are motivated purely by self-interest; distrustful of human sincerity or integrity” and “[c]oncerned only with one’s own interests and typically disregarding accepted standards in order to achieve them.” But the name ‘cynic’ actually derives from the Greek for ‘dog-like’ and was a reference to the extreme squalor in which Diogenes and others chose to live.

His inspiration was Socrates, who rejected the link between material comforts and happiness, as well as fiercely championing open-mindedness and the right to question authority. It became the basis of his method of teaching (‘Socratic dialogue’) and a supreme virtue in itself. Stories of the lifestyle Diogenes chose – dressing in rags, begging, eschewing the comforts of conventional life – sound remarkably similar to the extreme asceticism practised by religious adherents down the ages. Rejection of crude materialism and of conventional standards and norms of living was their route to freedom – freedom, that is, from human failings such as pride, desire and jealousy. Diogenes’ follower, Crates, supposedly abandoned a rich inheritance to embrace the life of the Cynic. Only with the actions of later followers of Diogenes and the first Cynics – shamelessly living off the largesse of others, relentlessly satirical and sarcastic – did ‘cynicism’ acquire the characteristics we now associate with the word.

As for his more extreme utterances, given that none of his writings survive (if indeed he even wrote anything) who can possibly say whether words and views attributed to him – in favour of cannibalism and incest, for example – were actually said and, even if they were, whether they were meant literally or just for shock value, another way of upsetting conventional tastes? In reality, the antecedents of many of the values and principles that liberal democracy rightly cherishes – freedom of conscience, universal brotherhood, respect for all life, including that of animals – can be found in the teachings of Socrates and the Cynics who followed. Far from being cynical in its modern usage, they were passionately interested in moral virtue: the representation of Diogenes as the ‘man with a lamp’ actually links to his supposed search for a truly ‘just’ man.

And so we have the fictional Diogenes Club, first mentioned in Memoirs of Sherlock Holmes. Containing “the most unsociable and unclubable [sic] men in town”, its members were expected to ignore each other and talking was not permitted under any circumstances. Eccentric, peculiar, unconventional – the name ‘Diogenes’ seems fitting. Yet the word ‘cosmopolitan’ – citizen of the world – possibly originated with Diogenes. In these days of growing intolerance, rampant bigotry and narrow-minded xenophobia, at levels not witnessed since the 1930s, this minor fact, apart from anything else, seems to me to recommend him as a figure of interest.