Bohemian Rhapsody

The 1975 Queen hit Bohemian Rhapsody is one of the most famously ambiguous and debated songs in music history. Freddie Mercury himself famously refused to explain its meaning, often saying it was "just about relationships" with "a bit of nonsense in the middle," and that listeners should interpret it for themselves.

Despite this, many interpretations have emerged over the years, with the most widely accepted revolving around Freddie Mercury's personal struggles, identity, and coming to terms with his sexuality.

In terms of composition, the song can be broken into five sections: an intro; a ballad; an opera a hard rock section followed by an outtro in the same style as the intro.

If you are interested in music, may I suggest watching this video which goes into the technical details of the song.

Intro

"Is this the real life? Is this just fantasy?": This sets the stage for a journey of self-discovery and confusion. It suggests a feeling of being caught between what is real and what is imagined, or perhaps between a public persona and an inner truth.

"Caught in a landslide, no escape from reality.": Implies being overwhelmed by circumstances, feeling trapped and unable to avoid a difficult truth.

"I'm just a poor boy, I need no sympathy...": Suggests a desire for independence and a dismissal of societal judgment. "Easy come, easy go, little high, little low" speaks to a fluctuating emotional state or an acceptance of life's unpredictability.

Ballad

"Mama, just killed a man. Put a gun against his head, pulled my trigger, now he's dead.": This is often interpreted metaphorically as the death of an old self or a past identity. For Freddie, this is widely believed to be the "killing" of his former persona (Farrokh Bulsara) and the person he was expected to be, to embrace his true self, including his sexuality. The "man" he killed is the "straight" man he was trying to be.

"Mama, life had just begun, but now I've gone and thrown it all away.": This line can convey regret or a sense of having sacrificed something important (perhaps societal acceptance, family expectations) by making a profound personal change. The idea that "life had just begun" suggests a new awakening, but one that comes with a heavy cost.

"Mama, ooh, didn't mean to make you cry.": A direct address to his mother, potentially expressing guilt or sorrow for the pain his choices might cause her, especially given his traditional background.

Opera

This section is rich with theatrical and religious imagery, representing an internal struggle, a trial, or a confrontation with judgment.

"Scaramouche, Scaramouche, will you do the Fandango?": Scaramouche is a mischievous, cowardly character from Italian commedia dell'arte. "Fandango" is a passionate Spanish dance. This could symbolize an internal dialogue or a questioning of whether he will fully embrace a more flamboyant, unconventional, or "scandalous" identity.

"Thunderbolt and lightning, very, very frightening me!": Represents the immense fear and turmoil of facing judgment or the consequences of his actions/identity.

"Galileo, Galileo, Galileo Figaro Magnifico-o-o-o-o.": "Galileo" is sometimes seen as a reference to truth or enlightenment, or perhaps a cry to a higher power. "Figaro" is a cunning and rebellious character from opera, often associated with breaking social norms. "Magnifico" implies grandeur or self-proclamation. This whole phrase can be seen as an internal chorus of voices, both accusatory and self-affirming.

"I'm just a poor boy and nobody loves me.": A moment of vulnerability and self-pity, feeling unaccepted or condemned.

"Bismillah! No, we will not let you go! (Let him go!)": "Bismillah" is an Arabic phrase meaning "in the name of God." This signifies a spiritual or religious battle. The multiple voices represent conflicting forces: rigid societal/religious judgment ("We will not let you go!") versus a plea for freedom and understanding ("Let him go!").

"Beelzebub has a devil put aside for me, for me, for me!": This suggests a sense of damnation or a belief that he is destined for hell due to his perceived sins or unconventional life.

Beelzebub, occasionally known as the Lord of the Flies, is a name derived from a Philistine god, formerly worshipped in Ekron, and later adopted by some Abrahamic religions as a major demon. The name Beelzebub is associated with the Canaanite god Baal. 

In theological sources, predominantly Christian, Beelzebub is another name for Satan. He is known in demonology as one of the seven deadly demons or seven princes of Hell, Beelzebub representing gluttony and envy. The Dictionnaire Infernal describes Beelzebub as a being capable of flying, known as the "Lord of the Flies", "Lord of the Flyers", or the "Lord of the Flying Demons". He is also referenced in the well-known novel Lord of the Flies by William Golding due to his ties to hell and the themes of the book.

Hard Rock

"So you think you can stone me and spit in my eye? So you think you can love me and leave me to die?": This is a defiant outburst against those who judge him. It's an angry rejection of hypocrisy and conditional love.

"Oh, baby, can't do this to me, baby! Just gotta get out, just gotta get right outta here!": A desperate plea for escape and freedom from oppressive expectations.

Outro

"Nothing really matters. Anyone can see. Nothing really matters. Nothing really matters to me.": This concluding thought often interpreted as acceptance, resignation, or even a form of nihilism after the intense emotional journey. It suggests that after all the struggle and internal conflict, the judgments of others or even the perceived "sins" no longer hold power. He has found a kind of peace in accepting himself, regardless of external consequences.

"Anyway the wind blows...": A return to the beginning's sentiment, implying that he will continue on his path, come what may.

While Freddie never confirmed a definitive meaning, the most compelling interpretation sees "Bohemian Rhapsody" as a deeply personal and metaphorical autobiographical confession of his journey of self-discovery, particularly regarding his bisexuality, and the internal and external struggles associated with it, including breaking from his traditional background and facing societal judgment. The song is a theatrical and emotional rollercoaster, reflecting the chaos, pain, and eventual liberation of embracing one's true identity.