conversations.from: human
conversations.value: Write me a song called Killer Queen (2011 Remaster) with the following description: For a brief insightful bio into Queen’s first international hit, check out the single’s bio and its lyrical annotations, a click away featured on Genius.com:
  “Killer Queen” …
  In honor of the biopic film The Guardian ranked Queen’s Top 50 UK singles, comments for each well versed (although often not necessarily nice, it’s fun reading).  The publication ranked “Killer Queen” #3, extraordinarily high; (“Under Pressure “ came in at #2, and their #1 pick was, of course, "Bohemian Rhapsody”, the biopic’s moniker).
  The Guardian’s choice for #3 included this commentary,
  Mercury wonderfully described this glam-era classic about a high-class sex worker as “one of those bowler-hat, black-suspender-belt numbers”. It is certainly a riot of phased vocals, rock cabaret, and lyrics referencing Marie Antoinette and laser beams. An unlikely influence on Katy Perry.
  Upon the song’s original 1974 release, NME quoted Freddie Mercury, who of penned the hit, with regard to its killer, er, “heroine”?,
  It’s about a high-class call girl. I’m trying to say that classy people can be whores as well. That’s what the song is about, though I’d prefer people to put their interpretation upon it – to read into it what they like.”
  Below is one interpretation of his pivotal number;  to avoid complications, it’s just one superfan’s address; extrapolations, aligned with Mercury’s sentiments:
  The song is pure camp, as in the urban dictionary meaning of the word, in its exaggerated, escapist, absurd, artificial, tongue-in-cheek, and obscure sentiments.  She’s a classy whore.
  The killer heroine, simply “dripping with money, darlings” is not just high-class; she’s clever, dynamic, engaged, sharp, and glamorously aloof.  She would charm any man to death (naturally, or, actually, maybe, unnaturally). She’s an enchantress, a feline femme-fatale (feline is a stretch, but Freddie had a thing for cats, and so “Catwoman” may come to mind, why not?).
  She’s fatal; her pussycat eyes with long lashes will beat you with one bat! If any look can kill, hers will, like a sex-bomb or lethal laserbeam thrill, in one blink? Why?  Who is she? Let’s give her a code: Q009. (Think Bond, 007).
  Clearly, the Secret Police are monitoring Q009’s activities, to protect her, of course!  She’s an undercover whore, after all.  And the police are sloppy, she believes: “they may blow my cover!”
  And so they’re an example of her various “complications” to avoid, causal to her shifting locales. An underground secret-service-bat-cave always sounds appealing, luxuriously out-of-sight, albeit pending her majesty’s royal request.
  Time travel to the future was a thing in 1974 when 1984 was an Orwellian future, and our Secret Agent Q009 must be fighting a villain.  He’s the then-future dystopian threat, Big Brother, his control thwarted covertly by Q009 and Bond 007?  Only incidentally if you’re inclined to consider in 2018 not Khrushchev, nor Kennedy, but Putin and a global threat to Mother Nature, a man-baby deranged enough to anoint himself as a “very stable genius”,  being obviously a psychotically stupid man-baby"?
  “Anytime”.   But that reality may be too surreal and distant to handle unless a Cassandra Complex with the ability to change the path towards destruction is endorsed.
  Q009 demands we wrap this up, “bigly”, she says, with contempt at the thought of a powerful man-baby idiot.
  Back to the lyrical interpretation herein, let’s address 007, James, her spy partner, and part-time lover with a tendency to make a nuisance of himself, another complication, with a double-O seven.  “Q009, do you read me, please?”  (static; she rolls her eyes …).
  Or none of the above; who cares?  It’s playful like a pussycat (not dreadful like an “Octopussy”, a flick of the squid, and you’re dead, man-baby-pussy-grabber; just like “whores can be classy”, “low-class gangsters can be scary and powerful”).
  Freddie often had a sense of comedy with his music and lyrics, a factor that was laboriously lost on critics as being “frivolous” or too “gay”, perhaps? Wink-wink. Let’s avoid connotations, but is this is an annotation?  Or a vehicle, a car?  It’s out of gas.
  To pop the cork of Moet et Chandon in celebration of this song’s success, there was maybe more to Freddie’s comments.  Hindsight shows a story punctuated by money problems for the band, especially after the success of this worldwide hit and its album.   This newly found fame left the band (still) living below the poverty line.  i.e., a classy band was still a “whore” to their management company, a sentiment Freddie had, obviously, prior to even this album’s release.
  But Freddie also had a ruthless streak or felt justified in expressing what might be construed as a tragedy.   “Killer Queen” was released as a double A-side single. The other song? Mercury’s intense, louder, and rockier “Flick of the Wrist” (ignored by radio, and relegated to a regular B-side, or a solid “album track”).  Its lyrics twist a different spin on whoring, as a nightmarish fate or its surreally real realization, was it a premonition?  Take the lyric “prostitute yourself he says, castrate your human pride (big time money money)”.   Instead of a relaxed “recommended at the price” we get sheer heart-attacker drives: “don’t look back, don’t look back; it’s a rip-off!” with Brian’s electric guitar defribillations menacing and unbridled throughout.  The song ends in defeat: “baby you’ve been had …”.
  But that’s another story best relayed in the finale that would open the next album, Mercury’s “Death on Two Legs (Dedicated to…)” from their fourth album, A Night at the Opera.
  Without the success of “Killer Queen”, “Bohemian Rhapsody” would not have been served so expensively in its production.   Investment in art is a game of high risk, as in “history favors the bold” (a line from the biopic, delivered by Queen’s lawyer, Jim Beach, nick-named “Miami” by Freddie, at least for the movie’s sake …). Make sure the lyrics are different from the original song.
conversations.from: gpt
conversations.value: [Verse 1]
  She keeps Moet et Chandon, in her pretty cabinet
  "Let them eat cake," she says, just like Marie Antoinette
  A built-in remedy for Khrushchev and Kennedy
  At anytime an invitation you can't decline
  Caviar and cigarettes, well versed in etiquette
  Extraordinarily nice
  [Chorus]
  She's a killer queen
  Gunpowder, gelatine
  Dynamite with a laser beam
  Guaranteed to blow your mind
  Anytime
  [Post-Chorus]
  Ooh, recommended at the price
  Insatiable an appetite
  Wanna try?
  [Verse 2]
  To avoid complications
  She never kept the same address
  In conversation
  She spoke just like a baroness
  Met a man from China, went down to Geisha Minah (A killer, a killer)
  Then again incidentally, if you're that way inclined (She's a killer queen)
  Perfume came naturally from Paris (Naturally)
  For cars, she couldn't care less, fastidious and precise [Chorus]
  She's a killer queen
  Gunpowder, gelatine
  Dynamite with a laser beam
  Guaranteed to blow your mind
  Anytime
  [Guitar Solo]
  [Bridge]
  Drop of a hat, she's as willing as
  Playful as a pussy cat
  Then momentarily out of action
  Temporarily out of gas
  To absolutely drive you wild, wild
  She's all out to get you
  [Chorus]
  She's a killer queen
  Gunpowder, gelatine
  Dynamite with a laser beam
  Guaranteed to blow your mind
  Anytime
  [Outro]
  Ooh, recommended at the price
  Insatiable an appetite
  Wanna try? (Wanna try?)