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Queen :: Charts & Sales History

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  • braca
    Re: Queen :: Charts & Sales History ... 700325b71c

    Bohemian Rhapsody earned $3.2m (+35%) on 1,334 screens for a new $198.4m domestic cume. Yeah, it’ll pass $200m sometime next week. And it has earned at least $755m worldwide. 

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  • braca
    Thanks to poster Corpse
    All-Time Best Multipliers (Wide Releases; ¥1 Billion Earners) [1998-]

    01. x33.34 - Frozen (Mar., 2014) 
    02. x30.37 - Spirited Away (July, 2001)
    03. x26.99 - Princess Mononoke (July, 1997)
    04. x26.92 - Your Name. (Aug., 2016)
    05. x26.13 - Avatar (Dec., 2009)
    06. x25.98 - Bohemian Rhapsody (Nov., 2018) [10 Weeks in Release] *Est.*
    07. x23.21 - Departures (Sept., 2008) 
    08. x19.96 - Les Miserables (Dec., 2012) 
    09. x17.07 - Zootopia (Apr., 2016) 
    10. x16.44 - The Cat Returns (July, 2002)
    11. x16.15 - The Eternal Zero (Dec., 2013) 
    12. x15.69 - Monsters, Inc. (Mar., 2002)
    13. x15.29 - Big Hero 6 (Dec., 2014)
    14. x15.25 - The Last Samurai (Dec., 2003)
    15. x14.98 - Ponyo (July, 2008)
    16. x14.84 - Howl's Moving Castle (Nov., 2004)
    17. x14.81 - Always: Sunset on Third Street (Nov., 2005)
    18. x14.25 - Confessions (June, 2010)
    19. x13.96 - Let Me Eat Your Pancreas (July, 2017)
    19. x13.96 - Bayside Shakedown: Save the Rainbow Bridge! (July, 2003)
    21. x13.83 - Thermae Romae (Apr., 2012)
    22. x13.64 - Crying Out Love in the Center of the World (May, 2004)
    23. x13.34 - The Greatest Showman (Feb., 2018)
    24. x13.20 - Shin Godzilla (July, 2016) 
    25. x13.09 - Harry Potter and the Sorcerer's Stone (Dec., 2001)
    26. x12.98 - Summer Wars (Aug., 2009)
    27. x12.88 - Ted (Jan., 2013) 
    28. x12.51 - The Wind Rises (July, 2013) 
    29. x12.50 - The Phantom of the Opera (Jan., 2005)
    30. x12.48 - Pirates of the Caribbean: The Curse of the Black Pearl (Aug., 2003)
    31. x12.24 - Finding Nemo (Dec., 2003)
    32. x12.21 - Despicable Me 3 (July, 2017)
    33. x12.16 - Wolf Children (July, 2012)

    Entries By Month: July (10); December (7); August (3); November (3); January (2); March (2); April (2); February (1); May (1); June (1); September (1); October (0).

    It's going to surpass Avatar, Your Name., and Princess Mononoke in one swoop next weekend. I also believe it'll eventually beat Spirited Away, and it'll certainly challenge Frozen for the best ever recorded multiplier.

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  • braca
    Thanks to poster Corpse
    Biggest Tenth Weekends/Ten Week Totals (2000-)

    ¥807.1 million ($7.9 million), +09%, ¥18.53 billion ($181.8 million) - Frozen (2014)
    ¥510.0 million ($4.6 million), -21%, ¥22.40 billion ($183.7 million) - Spirited Away (2001)
    ¥402.0 million ($3.7 million), +20%, ¥9.21 billion ($82.2 million) - Bohemian Rhapsody (2018) *Estimate*
    ¥381.5 million ($3.6 million), -20%, ¥17.19 billion ($167.1 million) - Your Name. (2016)
    ¥359.4 million ($4.0 million), -11%, ¥12.60 billion ($141.5 million) - Avatar (2009)
    ¥349.1 million ($2.7 million), +18%, ¥18.48 billion ($140.6 million) - Harry Potter and the Sorcerer's Stone (2001)
    ¥310.5 million ($3.0 million), -10%, ¥16.42 billion ($160.1 million) - Howl's Moving Castle (2004)
    ¥289.6 million ($2.7 million), -31%, ¥11.15 billion ($105.7 million) - The Last Samurai (2003)
    ¥225.2 million ($1.8 million), -41%, ¥15.86 billion ($137.6 million) - Bayside Shakedown: Save the Rainbow Bridge! (2003)
    ¥213.3 million ($1.8 million), -23%, ¥15.78 billion ($134.1 million) - Harry Potter and the Chamber of Secrets (2002)
    ¥207.0 million ($1.8 million), -05%, ¥11.81 billion ($104.6 million) - Beauty and the Beast (2017)
    ¥184.9 million ($1.9 million), -43%, ¥11.08 billion ($113.4 million) - The Wind Rises (2013)
    ¥178.4 million ($1.6 million), -11%, ¥12.37 billion ($112.7 million) - Harry Potter and the Prisoner of Azkaban (2004)
    ¥171.5 million ($1.7 million), -14%, ¥7.20 billion ($66.7 million) - Zootopia (2016)
    ¥154.9 million ($1.5 million), -40%, ¥14.31 billion ($133.3 million) - Ponyo (2008)

    Absolutely bonkers.

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  • braca
    Thanks to poster corpse
    Bohemian Rhapsody - Weekly Performance
    WK01: ¥354.3 million ($3.2 million) 
    WK02: ¥388.5 million ($3.4 million), +10%, ¥1.321 billion ($11.7 million)
    WK03: ¥395.0 million ($3.5 million), +02%, ¥2.336 billion ($20.8 million)
    WK04: ¥496.0 million ($4.4 million), +26%, ¥3.323 billion ($29.4 million)
    WK05: ¥505.1 million ($4.5 million), +02%, ¥4.394 billion ($38.9 million)
    WK06: ¥431.5 million ($3.8 million), -15%, ¥5.362 billion ($47.4 million)
    WK07: ¥389.1 million ($3.5 million), -10%, ¥6.255 billion ($55.3 million)
    WK08: ¥364.0 million ($3.3 million), -07%, ¥7.200 billion ($63.8 million)
    WK09: ¥335.8 million ($3.1 million), -08%, ¥8.457 billion ($75.3 million)
    WK10: ¥402.0 million ($3.7 million), +20%, ¥9.205 billion ($82.2 million)

    Ain't no stopping it.

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  • braca
    tks to poster Corpse
    Japan adjusted
    Weekend Estimates (01/12-13)
    01 (---) ¥410,000,000 ($3.8 million), 0, ¥410,000,000 ($3.8 million), Fate/stay night: Heaven's Feel II - Lost Butterfly (Aniplex) NEW
    02 (01) ¥402,000,000 ($3.7 million), +20%, ¥9,205,000,000 ($82.2 million), Bohemian Rhapsody (Fox) WK10
    03 (02) ¥235,000,000 ($2.2 million), -20%, ¥3,100,000,000 ($28.4 million), Ralph Breaks the Internet (Disney) WK4
    04 (03) ¥112,000,000 ($1.0 million), -33%, ¥3,560,000,000 ($32.1 million), Dragon Ball Super: Broly (Toei) WK5
    05 (---) ¥x90,000,000 ($830,000), 0, ¥120,000,000 ($1.1 million), Creed II (Warner Bros.) NEW
    06 (05) ¥x86,000,000 ($795,000), -30%, ¥760,000,000 ($7.0 million), A Banana? At This Time of Night? (Toho) WK3
    07 (04) ¥x85,000,000 ($785,000), -33%, ¥6,340,000,000 ($56.6 million), Fantastic Beasts: The Crimes of Grindelwald (Warner Bros.) WK8
    08 (07) ¥x84,000,000 ($775,000), -15%, ¥450,000,000 ($4.1 million), Love! Live Sunshine!! Over the Rainbow (Shochiku) WK2
    09 (08) ¥x76,000,000 ($700,000), -21%, ¥1,075,000,000 ($9.7 million), A Star is Born (Warner Bros.) WK4
    10 (06) ¥x66,000,000 ($610,000), -34%, ¥1,345,000,000 ($12.2 million), Kamen Rider Heisei Generations FOREVER (Toei) WK3

    A very close battle for the #1 spot this weekend between the debut of Fate/stay night: Heaven's Feel - II (which sold though 51% of its available tickets) and the tenth weekend for Bohemian Rhapsody which increased once again (its fifth time doing so). I'm betting on Fate/stay night to edge out a victory in gross due to its very high average ticket price, but Bohemian Rhapsody will almost certainly come out on top in admissions.

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  • braca

    BOHEMIAN RHAPSODY $3.20M Weekend (Est.)
    1,334 Screens / $2,399 Avg. Weekend 11 / +35% Change
    $198.49M Total (North America)
    #BohemianRhapsody #BoxOffice

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  • braca
    Daily Domestic Chart for Saturday January 12th, 2019
    Bohemian Rhapsody

    Daily Domestic Chart for Sunday January 13th, 2019
    Bohemian Rhapsody

    Leave a comment:

  • Rockintunesbaby
    Definitely, I think there will be a second one. It won't come out for several years but there is too much money to be made from it for it not to happen. I don't think it will make as much money as the first movie because it will be much darker. However, there are still 4 albums worth of material they could use and I for one would go and see it. I think people would like a second movie. The interesting question is, who would direct it?

    Leave a comment:

  • braca
    Originally posted by Rockintunesbaby
    I'm amazed, looks like Japan is heading for 100 million dollars.

    So Disney take over 20th century fox this year. I can't help thinking there are people behind the scenes wanting to make a second movie about the last 6 years. Am I wrong?
    I do not have any actual numbers yet
    But it looks like Bo Rhap is doing better then expected this weekend in Japan. It's increasing rather then dropping slightly
    Expected ¥319,000,000 could turn out to be > ¥360 million.

    I think it will cruise past the 100 million US$

    With the money this movie has made I think there will be many people behind the scenes who want to see a second movie.
    Who holds the rights?

    Leave a comment:

  • braca

    Altri 470mila euro e migliore media per sala per l'infinito Bohemian Rhapsody, che arriva a 24,6 milioni e si avvicina a Inside Out e Star Wars: Episodio VII - Il Risveglio della Forza (che arrivarono rispettivamente a 25,3 e 25,5 milioni).

    Another 470 thousand euros and the best average room for the endless Bohemian Rhapsody, which reaches 24.6 million and approaches Inside Out and Star Wars: Episode VII - The Force Awakens (which arrived respectively at 25.3 and 25.5 million).

    In Giappone Bohemian Rhapsody è a un passo dal diventare il miglior incasso del 2018 con oltre 80 milioni di dollari. 
    In Japan, Bohemian Rhapsody is one step away from becoming the best collection of 2018 with over 80 million dollars.

    Bohemian Rhapsody è 4° in classifica al Box Office, ieri ha incassato € 470.430,00 e registrato 62.602 presenze.

    Box Office Italia del 12/01/2019
    1. Non ci resta che il crimine: Euro 749.744
    2. Aquaman: Euro 715.942
    3. Ralph Spacca Internet: Euro 634.358
    4. Bohemian Rhapsody: Euro 470.430
    5. Van Gogh - Sulla soglia dell'eternità: Euro 356.179
    6. City of Lies - L'ora della verità: Euro 258.924
    7. La befana vien di notte: Euro 185.640
    8. Moschettieri del Re - La penultima missione: Euro 163.749
    9. Attenti al gorilla: Euro 157.852
    10. Vice - L'Uomo nell'Ombra: Euro 151.885

    Leave a comment:

  • braca
    ComscoreMoviesSpain @cSMoviesSpain 6h

    Top 10 - 12 Enero

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  • thebigham
    replied ... ce=twitter

    U.S. Vinyl Album Sales Grew 15% in 2018, Led by the Beatles, Pink Floyd, David Bowie & Panic! at the Disco
    1/12/2019 by Keith Caulfield

    Vinyl album sales in the U.S. hit their 13th consecutive year of growth, with 'Guardians' being the top-selling LP and "Yellow Submarine” the biggest vinyl single.

    Vinyl album sales continue to be a bright spot among an otherwise bleak album sales picture. 16.8 million vinyl albums were sold in 2018, according to Nielsen Music (up 14.6 percent) — marking the 13th consecutive year of growth for the format. 16.8 million is also a new yearly high for vinyl album sales since Nielsen Music began tracking sales in 1991.

    Comparatively, overall album sales (vinyl LP, CD, digital, cassette, etc.) in 2018 fell 17.7 percent to 141 million.

    Vinyl LP sales accounted for 11.9 percent of all album sales in 2018 (16.8 million of 141 million). In 2017, the format comprised 6.5 percent of album sales.

    Nielsen Music’s 2018 tracking year ran from Dec. 29, 2017 through Jan. 3, 2019. Due to a quirk in the calendar, there were 53 weeks in 2018, instead of the usual 52. So, for 2018 volume comparisons to 2017, a corresponding 53-week period is used by Nielsen Music for 2017: Dec. 30, 2016 through Jan. 4, 2018. Numbers in this story are rounded.

    Perhaps not surprisingly, vinyl LPs were 19.1 percent of all physical album sales (CDs, LPs, cassettes, etc.) in 2018. That’s a new Nielsen-era record share for the once-dormant format, up from 14 percent in 2017.

    Vinyl’s growing share of the physical album market isn’t shocking, considering CD album sales continue to falter.

    In total, physical album sales equaled 88 million in 2018, down 15.8 percent. And of that sum, CD album sales were 70.7 million — down 20.9 percent.

    The CD format continues to be the leader for all album purchases, while the digital format is the runner-up with 53.4 million digital albums sold in 2018 (down 20.7 percent).

    TOP-SELLING VINYL ARTISTS: The top-selling vinyl albums artist in 2018 was the Beatles, with 321,000 copies sold of their catalog on vinyl. Their biggest seller was Abbey Road, which finishes the year as the No. 4 largest-seller, with 76,000 copies. The Fab Four also have two more titles among the year’s top 15-sellers: their self-titled (White Album) is No. 11 (56,000) and Sgt. Pepper’s Lonely Hearts Club Band is No. 13 (50,000).

    The top 10-biggest selling vinyl acts of the year are rounded out mostly by classic and veteran rock acts:

    2. Pink Floyd (177,000)
    3. David Bowie (150,000)
    4. Panic! at the Disco (148,000)
    5. Fleetwood Mac (139,000)
    6. Led Zeppelin (138,000)
    7. Michael Jackson (131,000)
    8. Jimi Hendrix (119,000)
    9. Metallica (116,000)
    10. Queen (113,000)

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  • braca
    South korea box office site is still signaling error
    I found this on other forum but admissions only

    Jan 9 admission (Cumulative admission Total)
    5. Bo Rhap - 18,969

    Jan 10 admission
    6. Bo Rhap - 17,034

    Jan 11
    6. Bo Rhap - 19,420(9,720,549, harsh 50% drop from last week)

    Jan 12 admission
    6. Bo Rhap - 34,955 (9,755,504, 52% drop)

    Leave a comment:

  • braca
    replied ... 64167d3e41

    Coming off a notable Golden Globe victories (Best Actor in a Drama, Best Drama) and an expansion which includes 750 “sing-along” prints, Bohemian Rhapsody earned $930,000 (+27%) on 1,334 screens yesterday for a likely $3 million (+22%) 11th weekend and $198m cume. Yeah, it’ll pass $200m sometime next week. 

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  • braca
    Boxoffice@BoxOffice 25m

    $930K Friday Estimate
    $196.2M Domestic Total
    #BohemianRhapsody #BoxOffice

    $930,000+146% 1,334 Theatres  total gross $196,226,306

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  • braca
    Aggettivi esauriti per Bohemian Rhapsody (guarda la video recensione), che viaggia con una media per sala altissima e arriva a 24,1 milioni di euro complessivi: il prossimo traguardo è superare i 25 ed entro il mese dovrebbe essere una formalità.

    Adjectives sold out for Bohemian Rhapsody (watch the video review), which travels with an average for the highest room and reaches 24.1 million euros overall: the next goal is to exceed 25 and within the month should be a formality.

    Bohemian Rhapsody è 3° in classifica al Box Office, ieri ha incassato € 218.728,00 e registrato 31.005 presenze.

    Box Office Italia del 11/01/2019
    1. Aquaman: Euro 295.186
    2. Non ci resta che il crimine: Euro 273.469
    3. Bohemian Rhapsody: Euro 218.728
    4. Ralph Spacca Internet: Euro 191.808
    5. Van Gogh - Sulla soglia dell'eternità: Euro 139.533
    6. City of Lies - L'ora della verità: Euro 127.444
    7. Vice - L'Uomo nell'Ombra: Euro 60.377
    8. La befana vien di notte: Euro 60.073
    9. Moschettieri del Re - La penultima missione: Euro 55.066
    10. Attenti al gorilla: Euro 47.040

    Leave a comment:

  • Lawyeris
    UK TOP 100 album chart
    4 (6) Bohemian Rhapsody OST, 12 weeks
    10 (14) The Platinum collection, 225 weeks
    87 (69) Greatest Hits, 859 weeks
    99 (86) A night at the Opera, 62 week

    UK TOP Singles chart
    65 (48) Bohemian Rhapsody, 27 weeks
    out (79) Dont stop me now, 49 weeks

    Leave a comment:

  • Rockintunesbaby
    I'm amazed, looks like Japan is heading for 100 million dollars.

    So Disney take over 20th century fox this year. I can't help thinking there are people behind the scenes wanting to make a second movie about the last 6 years. Am I wrong?

    Leave a comment:

  • innocenteyes


    36 (31) Bohemian Rhapsody


    1 (1) Bohemian Rhapsody <G>
    4 (5) The Platinum Collection

    (new peak)
    5 (4) Greatest Hits

    29 (27) Greatest Hits II



    1 (1) Live At Wembley Stadium

    3 (4) Live At The Odeon

    Leave a comment:

  • braca

    Chart Date: 01/11/2019 (Week Ending: 01/10/2019)

    -- 10 QUEEN | PLATINUM COLLECTION HOLLYWOOD 36,986 -- 8,020 6,380 22,586

    LW TW Artist / Album Label Sales Index % Change

    Leave a comment:

  • braca
    Taquilla España@taquilla_espana

    Estrenos de CINE 11/01
    Pronóstico taquilla:
    1 #Aquaman 0.9M€
    2 #BohemianRhapsody 0.7M€
    3 #ElVicioDelPoder 0.6M€
    4 #ElRegresoDeMaryPoppins 0.6M€
    5 #SpiderMan 0.45M€

    Leave a comment:

  • braca
    From another forum
    Tks to Poster Corpse

    Japan Weekend Forecast (01/12-13)
    01 (---) ¥425,000,000 ($3.9 million), 0, ¥425,000,000 ($3.9 million), Fate/stay night: Heaven's Feel II - Lost Butterfly (Aniplex) NEW
    02 (01) ¥319,000,000 ($2.9 million), -05%, ¥9,125,000,000 ($81.5 million), Bohemian Rhapsody (Fox) WK10
    03 (02) ¥209,000,000 ($1.9 million), -29%, ¥3,075,000,000 ($28.2 million), Ralph Breaks the Internet (Disney) WK4
    04 (---) ¥125,000,000 ($1.1 million), 0, ¥155,000,000 ($1.4 million), Creed II (Warner Bros.) NEW
    05 (03) ¥100,000,000 ($920,000), -40%, ¥3,550,000,000 ($32.0 million), Dragon Ball Super: Broly (Toei) WK5
    06 (07) ¥x87,000,000 ($800,000), -12%, ¥450,000,000 ($4.1 million), Love! Live Sunshine!! Over the Rainbow (Shochiku) WK2
    07 (05) ¥x84,000,000 ($775,000), -32%, ¥760,000,000 ($7.0 million), A Banana? At This Time of Night? (Toho) WK3
    08 (04) ¥x76,000,000 ($700,000), -41%, ¥6,330,000,000 ($56.5 million), Fantastic Beasts: The Crimes of Grindelwald (Warner Bros.) WK8
    09 (08) ¥x74,000,000 ($680,000), -23%, ¥1,075,000,000 ($9.7 million), A Star is Born (Warner Bros.) WK4
    10 (06) ¥x61,000,000 ($560,000), -39%, ¥1,340,000,000 ($12.1 million), Kamen Rider Heisei Generations FOREVER (Toei) WK3

    Bohemian Rhapsody... It appears to be headed for a mostly flat weekend, again, in its tenth weekend of release. If the forecast is accurate, it'll end up achieving the sixth or seventh biggest tenth weekend on record. Its ten week multiplier will also be the highest on record (25.75) for any film after ten weeks in release. There's still no stopping this film at the box office.

    Leave a comment:

  • slightlymad
    UK Official Vinyl Albums Chart Top 40 - 11 January 2019 - 17 January 2019
    1 - Queen Greatest Hits

    12 - Queen Greatest Hits II
    39 - Queen A Night At The Opera

    Leave a comment:

  • slightlymad
    According to a UK chart expert Queen were the biggest selling albums group in the UK in 2018, No5 overall. Over on the Haven website, chart expert 'Shireblogger' has listed the Top20 selling Album acts of 2018 in the UK. Here is what he said about Queen
    Bohemian Rhapsody :: 210,000 (#13)
    Platinum Collection :: 169,000 (#24)
    Greatest Hits :: 128,000 (#40)

    Oh, the power of the cinema to sell music. With 4 soundtrack albums in this year's Top 13, I suspect Hollywood will now be full of wannabe film makers pitching their ideas for jumping on the bandwagon. Still, Bohemian Rhapsody (the soundtrack) did contain some interesting song selections and a lot of rare live material, so therefore made a decent companion piece to the Greatest Hits triple set.

    The outcome was Queen increasing their UK album sales 2.5x compared to 2017, which is no mean feat for the group which is already the 2nd best selling act of all-time. My spreadsheet says they'll pass 25 million UK album sales in 2019, but I only need to be out by 0.5% for them to have already reached that landmark, and I'd never claim to estimate sales to that degree of accuracy.
    Top UK Album Selling Acts 2018
    1 - CAST OF THE GREATEST SHOWMAN :: 1,622,000
    2 - GEORGE EZRA :: 810,000
    3 - ED SHEERAN :: 780,000
    4 - EMINEM :: 760,000
    5 - QUEEN :: 650,000
    6 - DRAKE :: 595,000
    8 - MICHAEL BUBLE :: 510,000
    9 -ARCTIC MONKEYS :: 475,000
    10 - FLEETWOOD MAC :: 440,000

    Leave a comment:

  • braca
    replied ... 203104828/

    Why Queen Was, and Still Is, Even Bigger Than ‘Bohemian Rhapsody’

    For anyone paying attention to the band's tour grosses or synchs, the film's nearly $200 million gross in the U.S. shouldn't be a huge surprise.

    "Bohemian Rhapsody” is, by any measure, gargantuan. It’s at the $195 million mark at the U.S. box office and just got a turbo boost heading toward the magic $200M mark, with a post-Golden Globes expansion back into 1,300 theaters set for Friday, including a new “sing-along” version set for more than 750 screens. Its foreign grosses sit at $553 million. That’s big — bigger than the robot on the cover of “News of the World.” Bigger than Brian May’s stacks of Vox amps. Bigger than Rami Malek’s dentures. Big, we tell you.

    But you know what’s even more behemoth than “Bohemian”? Queen.

    Maybe that seems like an obvious point, but maybe not. There is a fair amount of myth-making in “Bohemian Rhapsody,” as detractors focused on ways in which the story departs from the historical record have pointed out. But there are some myths around the film itself, and one big one is that the movie somehow put the band back on the map. There are those who can’t imagine even the most popular musicians in the world being terribly relevant unless they’re being legitimized by the movies or television — let’s call them medium-ists — which results in a false narrative developing about Hollywood raising a moribund band from the dead. The other day I even ran into someone who said that no one should care about the complaint that the film short-changes some of the band members because “no one could name anyone but Freddie Mercury anyway.” If classic rock is one big background din in your mind, maybe it’s easy to look at the grosses and say, “Who knew?” … and wonder if someone should be green-lighting “Styx: The Motion Picture.”

    As a matter of fact, somebody probably should make a movie out of the Dennis DeYoung-Tommy Shaw wars, but on pure artistic merit, not because it’s going to make $200 million. Maybe no other potential rock biopic could. What the upcoming “Rocketman” film could do is anyone’s guess, but there’s an argument to be made that Queen has loomed even larger in the rock imagination than Elton all these years, despite the frontman’s death putting a 28-years-and-counting crimp in their recording career.

    The answer to “Who knew?” is: Anyone who’s seen or even heard much about the appeal of Queen + Adam Lambert on tour. (The plus-sign punctuation is theirs; they’ve been canny about how to make the “fill-in” singer’s name a full-disclosure addendum, even when it was Queen + Paul Rodgers for a spell in the 2000s.) The modern incarnation of the group doesn’t play a lot of gigs, but when they do, they usually play at 100 percent capacity. Pollstar has the numbers. The trade publication’s records show that from just 97 box-office reports they have on file for Queen + Adam Lambert from 2014 to the present — a relatively leisurely number of shows, indicating how little these veteran musicians need to tour — the group grossed $127 million. Their most recent arena show in Dublin, Ireland on July 8 brought in $1.3 million. Their most recent residency show at the more intimate Park Theatre in Las Vegas on Sept. 22 raked in $824,000, from a little more than 5,000 attendees. And you could ascribe these numbers to anticipation created by trailers for the movie, except for the fact that they were easily selling out Madison Square Garden on the east coast and the Forum on the west in 2014, back when a Queen biopic was just a twinkle (soon to turn to a tear) in Sacha Baron Cohen’s eye.

    Yes, the film has boosted the bands profile immeasurably, and their agents would be foolish not to have at least tested the waters for a Dodger Stadium or Rose Bowl-sized show. But the fact is, Queen was always big, and it’s the pictures that got bigger to meet them (to mis-paraphrase Norma Desmond).

    And fans don’t just come to honor Mercury. Brian May was arguably always almost as big a draw for the rock crowd, and a smaller but sizable contingent — hand raised here — would walk away disgruntled if Roger Taylor did not take his spotlight moment to sing “I’m in Love With My Car.” But in former “American Idol” king Lambert, the surviving members have found the perfect balance of foil: someone who’s part nimbly operatic impressionist, part flamboyant-in-a-different-way draw in his own right. Mercury is obviously irreplaceable, and also, in a very practical way, replaceable — and of the maybe half-dozen or fewer people in the world you could imagine are well known and gaudy and huge-voiced enough to fill that role, Queen picked one of them. It is a happy fate that did not befall the Doors, Nirvana or any other loss-stricken mega-band you could think of. It also did not hurt that they waited a decent interval to soldier on.

    And during that decent interval, there was licensing. Lawdy, was there licensing. There should perhaps be an asterisk put on claims for Queen’s enduring popularity for a fade of sorts in the late ‘80s and early ‘90s, but any lull ended in 1992 with the headbanging sequence in “Wayne’s World,” and then it was off to a day at the races. Prior to that, beyond Mercury’s illness-based fade from public view before his death in 1991, there were the repercussions of some more synthetically inclined late-period albums that left the group’s rock ‘n’ roll base cold. And, contrary to what the movie maintains and conventional wisdom has adopted as gospel, Queen’s Live Aid performance in 1985 did not change the world or even get universally hailed as something that obviously eclipsed anything else that transpired that day. There was a bit of reputation damage from the disco-forward years (except maybe in the UK, where even a polka album would have stood in the way of their being a sacred totem). But once Mike Myers literally flipped his wig, the world was reminded not just of the greatness of “Bohemian Rhapsody’s” multiple middle-eights, but that there was such things as “Queen II” and “Sheer Heart Attack.” And all the love kicked back in.

    Especially among music supervisors. A look at their list of credits in films and TV shows this is no fresh resurgence. Edgar Wright wins the Most Valuable Director award among Queen fans for using “Don’t Stop Me Now” and “You’re My Best Friend” in “Shaun of the Dead” and “The Ring (Hypnotic Seduction of Dale)” in “Scott Pilgrim vs. the World” before getting to “Brighton Rock” as a car-chase orgasm in “Baby Driver.” But few supervisors or directors have been able to resist the temptation to cast “We Are the Champions” for triumphant moments, real or mocked, or “Another One Bites the Dust” for scenes in which someone or something is biting the dust, or “Under Pressure” when a character is… wait for it… under pressure. There are less obvious tunes that found appropriate homes, like “Moon Cycle” for Bill Nye the Science Guy. “I Want It All” accompanied a Trump documentary all the way back in the ‘90s. You heard and loved (or were distracted by) their music in “Married With Children,” “Malcolm in the Middle,” “Big Bang Theory,” “Grand Theft Auto IV,” “King of Queens,” “The Sopranos,” “South Park,” “Iron Man 2,” “Cold Case” and “Stranger Things,” among untold dozens and probably hundreds of placements.

    And the covers. Panic! at the Disco has had a small side career with their “Bohemian” cover, as featured on tour and in “Suicide Squad”; “Crazy Little Thing Called Love” has been recorded by Michael Buble, Dwight Yoakam, Fantasia, Diana Ross and the Chipmunks; “Weird Al” has gotten to both “Bohemian Polka” and “Another One Rides the Bus”; Metallica won the 1991 Grammy for “Stone Cold Crazy,” a year after true Queen-loving pioneer Trent Reznor did an industrial version of “Get Down Make Love.” There is a Queen song for every occasion, including “Thank God It’s Christmas” (a song so ubiquitous in Europe it inspired Sparks to record “Thank God It’s Not Christmas”).

    All of which is to say: Let’s not kid ourselves. Hollywood has been good to Queen, but in looking for credit where credit is due, it’s clear that, in this instance, Queen was good to Hollywood. The difference may be boiled down to only half of the nation’s marching bands having a Queen medley in their set prior to 2018, versus about 90 percent of them now (hi, Ohio State). The passing on among generations is a given thing, because children demonstrably like Queen: Who doesn’t respond to those stacked vocals, as something cartoonish, if you’re a kid, or symphonic, if you’re a tad older? As strong as it is at helping instill mania, in the overall scheme of things, the movie is like a booster shot in the fat bottom of a group that was never in danger of going away in any of our lifetimes.

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