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Freddie Mercury

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What I dug about him so much is he was completely uninhibited as a performer. He just didn't care. He would just go out and wear what he wanted — nothing mattered. He wasn't afraid. As a young performer, that's what you aspire to:to be able to not care. The more you restrict yourself within the confines of an established art form like jazz, when you become successful at it, it becomes more and more difficult to be uninhibited, because you like the success, you like what's happening to you.

 
Freddie Mercury

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I'm very concerned with the performer, but I'm not too concerned with the listener. It seems to me that if you can interest the performer and make him feel that he's done something really valuable, his playing will convince the audience just that. To write for the audience is just too uncertain. You never know what your audience may be like, but you can usually know what your performers will be like. A good musician has the training to appreciate all sorts of things you might try to do in a piece. A performer will also recognize whether a piece is skillfully written or original -- an audience might not always be so sure.

 
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Certainly the most famous performer to be attached to a tongues-speaking fellowship was Elvis Presley; shortly after the Presleys arrived in Memphis, from Tupelo, a First Assembly of God bus swung through their rundown neighborhood, so they climbed aboard and became regulars of Pastor James Hamill's congregation; Hamill remembers Elvis attended Sunday school and was exposed there to the best in Pentecostal music; in 1957, after he achieved international acclaim, Presley said 'We used to go to these religious sing-ins all the time, and there were these perfectly fine singers nobody responded to, but there were also these other singers who cut up all over the place, jumping on the piano, moving every which way, and all of which the audience liked, so I guess I learned from them'; uninhibited Pentecostalism gave young Elvis ideas about music and performance and, from then on, he was sometimes called the "Evangelist" by his inner circle of friends.

 
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"Somebody will ask those of us who compose with the aid of computers: 'So you make all these decisions for the computer or the electronic medium but wouldn't you like to have a performer who makes certain other decisions?' Many composers don't mind collaborating with the performer with regards to decisions of tempo, or rhythm, or dynamics, or timbre, but ask them if they would allow the performer to make decisions with regard to pitch and the answer will be 'Pitches you don't change.' Some of us feel the same way in regard to the other musical aspects that are traditionally considered secondary, but which we consider fundamental. As for the future of electronic music, it seems quite obvious to me that its unique resources guarantee its use, because it has shifted the boundaries of music away from the limitations of the acoustical instrument, of the performer's coordinating capabilities, to the almost infinite limitations of the electronic instrument. The new limitations are the human ones of perception." Quoted in Classic Essays on Twentieth-Century Music, ISBN 0028645812.

 
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"If I belong to a tradition, it is a tradition that makes the masterpiece tell the performer what to do, and not the performer telling the piece what it should be like, or the composer what he ought to have composed."

 
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I believe he was already assured of his ability as a performer since he had been perfecting his style on the road for more than a year. If you look at that first appearance on Stage Show, you'll witness a young confident singer with his own unique style. He would enhance his popularity with five more appearances on Stage Show (February 4, 11, 18; March 17, 24) and would become a superstar by the end of that year. On that historic television debut of January 28, 1956, the spotlight was first shown on the two people who had made it happen - the promoter and the performer - disc jockey Bill Randle and the new singing sensation, Electric Elvis.

 
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