historias del LEAN: Mensajes amables de fin de semana: Bohemian Rhapsody, un pequeño regalo para arrancar con buen pie estas vacaciones

Estimad@s Clientes y/o amantes del LEAN:

Hoy comienzo mis largamente deseadas vacaciones

Me gustaría agradecer a los 1.200 profesionales a los que mando cada fin de semana un mail con mis humildes reflexiones sobre cómo llegar a la excelencia LEAN en Operaciones Industriales, tanto por su paciencia como por sus comentarios apasionados sobre la mejor manera de introducir este tipo de conceptos en el corazón de nuestros negocios

Haré una pequeña pausa en estos mails, hasta principios de Septiembre

Como tema de despedida, una sentida reflexión sobre la, según mi humilde opinión, mejor canción de la historia de la música: Bohemian Rhapsody, de Queen

Primero la letra

Is this the real life?
Is this just fantasy?
Caught in a landslide
No escape from reality
Open your eyes
Look up to the skies and see
I'm just a poor boy,
I need no sympathy
Because I'm easy come, easy go
A little high, little low
Anyway the wind blows,
doesn't really matter to me, to me

Mama, just killed a man
Put a gun against his head
Pulled my trigger, now he's dead
Mama, life had just begun

But now I've gone and thrown it all away
Mama, ooo
Didn't mean to make you cry
If I'm not back again this time tomorrow
Carry on, carry on,
As if nothing really matters

Too late, my time has come
Sends shivers down my spine
Body's aching all the time
Goodbye everybody - I've got to go
Gotta leave you all behind
And face the truth
Mama, ooo - I don't want to die
I sometimes wish I'd never been born at all

I see a little silhouetto of a man
Scaramouch, scaramouch will you do the fandango
Thunderbolt and lightning - very very frightening me
Gallileo, Gallileo,
Gallileo, Gallileo,
Gallileo Figaro - magnifico

But I'm just a poor boy and nobody loves me
He's just a poor boy from a poor family
Spare him his life from this monstrosity
Easy come easy go - will you let me go
Bismillah! No - we will not let you go -
Let him go
Bismillah! We will not let you go - let him go
Bismillah! We will not let you go - let me go
Will not let you go - let me go (never)
Never let you go - let me go
Never let me go - ooo
No, no, no, no, no, no, no -
Oh mama mia, mama mia, mama mia let me go
Beelzebub has a devil put aside for me
for me
for me

So you think
You can stole me and spit in my eye
So you think you can love me
And leave me to die
Oh baby - can't do this to me baby
Just gotta get out -
Just gotta get right outta here

Ooh yeah, ooh yeah
Nothing really matters
Anyone can see
Nothing really matters -
Nothing really matters to me

Anyway the wind blows...

https://m.letras.com/mercury-freddie/797543/

Algo sobre el origen de la letra

The New York Times commented that "the song's most distinct feature is the fatalistic lyrics". Mercury refused to explain his composition other than saying it was about relationships; the band is still protective of the song's secret.^[16] 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."^[35] May, though, says the band had agreed that the core of a lyric was a private issue for the composer.^[16] 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".^[15]

It's one of those songs which has such a fantasy feel about it. I think people should just listen to it, think about it, and then make up their own minds as to what it says to them... "Bohemian Rhapsody" didn't just come out of thin air. I did a bit of research although it was tongue-in-cheek and mock opera. Why not?

—Freddie Mercury^[36]

When the band released a Greatest Hits cassette in Iran, a leaflet in Persian was included with translation and explanations (refers to a book published in Iran called The March of the Black Queen by Sarah Sefati and Farhad Arkani, which included the whole biography of the band and complete lyrics with Persian translation (2000)). 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 Islam).^[37]

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. Others believe the lyrics were only written to fit with the music, and have no meaning; Kenny Everett quoted Mercury as claiming the lyrics were simply "random rhyming nonsense".^[35]

Still, others interpreted them as Mercury's way of dealing with personal issues.^[16] Music scholar Sheila Whiteley observes that Mercury reached a turning point in his personal life in the year he wrote "Bohemian Rhapsody".^[17] 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')".^[34]

https://en.wikipedia.org/wiki/Bohemian_Rhapsody

Más sobre la letra: me ha encantado este videoclip:

¿De qué trata la letra de "Bohemian Rhapsody"? │ El Backstage

https://www.youtube.com/watch?v=6zqWlxsFPqM&t=221s

Estructura de la canción: balada, solo de guitarra, ópera y rock

Ballad (0:49–2:40)

	"Mama, just killed a man" MENU 0:00 This sample features the distinctive piano phrase in B♭ and the first line of the first verse.
Problems playing this file? See media help.

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. Over the course of 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 his 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".^[17] In the middle of the verse (1:17), 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.

As the ballad proceeds into its second verse, the narrator shows how tired and beaten down he is by his actions (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 (2:40–3:05)]

Towards the end of the ballad section, the band builds in intensity, incorporating a guitar solo (in E♭ major) played and composed by 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)

	"Scaramouche, Scaramouche, will you do the fandango?" MENU 0:00 The operatic segment enters immediately as May's solo abruptly concludes. This vast shift in style is just one example of how the song rapidly changes throughout its running time.
Problems playing this file? See media help.

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".^[15] 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, Beelzebub and Bismillah, as rival factions fight over the narrator's soul. 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.^[16] Producer Roy Thomas Baker said "Every time Freddie came up with another 'Galileo', I would add another piece of tape to the reel."^[4] Baker recalls that they kept wearing out the tape, which meant having to do transfers.^[16]

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". 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.

En fin, terminaré este mi pequeño homenaje a Queen con un par de reflexiones personales:

-Cuando oí la canción por primera vez, me dije:

¡No busques más, ésta es LA CANCIÓN, con mayúsculas!!

-Cuando vi la actuación de Freddie en Wembley ( en videoclip ); me dije:

¡!Esta es LA ACTUACIÓN, con mayúsculas!!!