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QUEENS GREAT PRETENDER: A PSYCHOHISTORICAL

SKETCH OF FREDDIE MERCURY THE JOURNAL OF
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 PAUL J.P. FOUCHÉ, DEWALD
A. LOUW, PRAVANI NAIDOO
& ROELF VAN NIEKERK

Queen’s Great Pretender:

A Psychohistorical Sketch
of Freddie Mercury
ABSTRACT: Freddie Mercury (1946—1991), a legend in the entertainment industry
and vocalist of the band Queen, was renowned for his stage persona and expression
of his sexuality. On stage he was a “great pretender”, entertaining fans to compensate
for his own sense of mistrust, inferiority, role confusion and need for love. This icon
continues to intrigue admirers across the globe. The aim of this study is to
reconstruct the Eriksonian psychosocial development of Mercury in a socio-cultural
context. A psychohistorical sketch of his life was created through publicly available
primary and secondary archival information. Six historical periods were identified in
Mercury’s life-span, and salient developmental themes were extracted for analysis by
utilizing Alexander’s model of saliency and a psychosocial-historical conceptualiza-
tion. Findings indicate that Mercury’s sense of mistrust, inferiority, and role confusion
resulted in the formation of a compensatory persona as a “great pretender.”
Keywords: Freddie Mercury, Farrokh Bulsara, Queen, Erikson, psychosocial
personality development, psychobiography.

PSYCHOHISTORICAL SKETCH OF FREDDIE MERCURY

T his study aims to reconstruct the life-span development of Mercury,

using Erikson’s (1963, 1980) psychosocial theory. It is a single-case
psychobiographical study. Psychobiography, a subdivision of psychohistory
focuses on psychological understandings of groups or individuals utilizing
both psychological and historiographic methods (Ponterotto, 2014; Pon-
terotto & Reynolds, 2017). Farrokh Bulsara (alias Freddie Mercury) had a
multi-layered personality. For audiences, he was the exuberant entertainer
and vocalist of the band, Queen. Thomas and Lupton (2011) described
Queen as one of the world’s greatest rock bands. Queen had 18 number one
albums and estimated record sales of 300 million copies (Queen, 2016).
Mercury admired the regal quality of the name and was well aware of the
homosexual association attached to it (Jones, 2012). As we will show later

The Journal of Psychohistory 46 (1) Summer 2018

18 Paul J.P. Fouché, Dewald A. Louw, Pravani
Naidoo & Roelf van Niekerk

in the paper, his struggles included challenges involving mistrust of

others, a sense of inferiority, role confusion and a lack of the ego-strength
of love and fidelity. This led to Mercury repressing and compensating for
his inner conflicts and deficits by means of developing a public persona.
There is biographical evidence for this in the lyrics of songs, such as The
Great Pretender, I Want to Break Free, Bohemian Rhapsody and Love Kills.
First, a brief historical sketch of Mercury’s life.
Farrokh Bulsara was born on 5 September 1946 in Zanzibar (Jones,
2012). He was the first-born and only son of Bomi and Jer (Dolezal &
Rossacher, 2000). Jones (2012) described the family as having middle to
high socio-economic status, as both parents worked for the local British
government. His father, Bomi, was a civil servant, working as a High
Court cashier. The Bulsaras had servants attending to the residence and
looking after Farrokh and his sister, Kashmira (Dolezal & Rossacher,
2000). At the age of five, Farrokh attended a missionary school in
Zanzibar (Szabelski, 2012) and when he was eight, he was sent to a
boarding school in India (Dolezal & Rossacher, 2000). While there, he
only saw his parents once a year (Szabelski, 2012). His favourite subject
was art. He also took piano lessons, sang in the choir, and often played
lead roles in school musicals (Jones, 2012; Thomas, 2012).
Between 1950 and 1960, Farrokh enjoyed Western pop and rock music,
which had become popular in India (Dolezal & Rossacher, 2000). Between
1958 to 1962, Bulsara was a member of his first band, The Hectics. who
performed at school concerts (Jackson, 2012). He enjoyed the attention
(Thomas, 2012) but was aware of his imperfections. For example, his nick-
name, “Bucky”, referred to his protruding teeth (Jones, 2012, p.48). After
failing Grade 10 (Dolezal & Rossacher, 2000), Farrokh returned to Zanzibar
in 1963 and completed his secondary schooling there (Jones, 2012).
During the 1964 revolution, the Bulsara family fled to London
(Dolezal & Rossacher, 2000). Farrokh enjoyed the anonymity of the city
(Brooks & Lupton, 2008). He was a fan of several bands, and after the
lead vocalist of Smile left, he joined the remaining members, Brian May
and Roger Taylor. John Deacon joined the band as bassist in the early
1970s (Jones, 2012). In 1970, Farrokh told the band that he had changed
his surname to Mercury, a reference to the “God to the fans” (Jones,
2012, p.84). When Mercury suggested that the band reinvent their style
in order to adopt a more theatrical approach they changed their name to
Queen (Dolezal & Rossacher, 2000),
Mercury felt compelled to entertain people (Freestone & Evans, 2001),
but was self-conscious about his lack of height and protruding teeth. Mer-
A Psychohistorical Sketch of Freddie Mercury 19

cury’s sexuality remained a topic of debate throughout his career. Until the
1970s, he dated women, although he was secretly attracted to men (Jones,
2012). Mercury felt conflicted about being homosexual, especially about
the disappointment it would bring to his family (Thomas, 2012). He
created a theatrical stage persona, which allowed him to express himself
without feeling vulnerable. However, friends noticed that, in private, Mer-
cury was self-conscious (Freestone & Evans, 2001). In the early 1970s, Mer-
cury met Mary Austin (Jackson, 2012), whom he referred to as the love of
his life (Jones, 2012). In 1976 he told Austin that he was bisexual. She
insisted that he was homosexual (Jones, 2012). They remained in a rela-
tionship, and Austin allowed Mercury to date men. In the early 1980s,
Mercury altered his image, adopting the clone look (Jackson, 2012). It
involved a moustache (perhaps to cover his teeth), closely cropped hair, a
muscular upper body, and tight-fitting denim jeans (Thomas, 2012). The
clone look was a well-known homosexual identity that portrayed the ide-
alised working-class man in the 1970s and 1980s (Jackson, 2012).
When Mercury recorded his first solo album in 1983, producer
Reinhold Mack noted that he enjoyed staying in a house where everyone
felt like family (Thomas, 2012). In 1984, he released his first solo single,
Love Kills. He was diagnosed with HIV in 1987 (Thomas, 2012). Mercury
was tired of the rock and roll lifestyle and found it more challenging to
present his individualistic, larger-than-life, persona to the world.
Therefore, Mercury’s version of The Great Pretender was released in 1987.
This was a cover version of the popular song originally released by the
Platters as a single in November 1955.
Although not his final recording, many acknowledged it as Mercury’s
farewell song, as the music video portrayed a summary of his career with
referrals to Mercury’s previous recordings, costumes, and fashion state-
ments (Thomas, 2012). The Great Pretender stands as a testament to the
tormented soul behind the rock star (Jones, 2012).
Oh yes, I’m the great pretender
Pretending that I’m doing well
My need is such I pretend too much
I’m lonely but no one can tell
(Ram, 1987)

By 1987, Mercury’s health had deteriorated; he retreated from the

public eye and renovated his house in Kensington (Jones, 2012). Queen’s
last album with Mercury, Innuendo, was released in 1991. Mercury was
determined to decide when he was going to die and discontinued his
20 Paul J.P. Fouché, Dewald A. Louw, Pravani
Naidoo & Roelf van Niekerk

treatment (Freestone & Evans, 2001). On 24 November 1991, the 45-year-

old “great pretender” passed away (Jones, 2012).

MERCURY AS PSYCHOHISTORICAL SUBJECT

The selection criteria for a psychobiographical subject are based primarily
on the individual’s historical significance (Du Plessis, 2017, Kóváry, 2011;
Mayer & Maree, 2017). Mercury, one of the most renowned musicians
(Richards & Langthorne, 2016), was selected based on interest value—his
iconic persona and significant contribution to the music industry. There
is a large amount of publicly available information on Mercury, allowing
for an in-depth investigation into various components of his life.

DATA-COLLECTION PROCEDURES
A search was conducted through the online information system services
at the library of the University of the Free State, Bloemfontein, South
Africa. Data from primary sources included audio-visual interviews with
Mercury, as well as his creative work including songs, lyrics and letters.
Secondary sources are biographies, articles, as well as interviews with
family and friends. Alexander’s (1988) psychobiographical model, with
indicators or guidelines to identify salient themes, was utilized in the col-
lection and analysis of evidence. Alexander’s method assists in the reduc-
tion of biographical information and the identification of significant evi-
dence or biographical themes of saliency. Alexander (1988) proposed
nine guidelines for extracting significant information. These nine guide-
lines of salience include the following:
1. Primacy, which indicates that the information presented first is com-
monly perceived as being most important and has psychological sig-
nificance and deserves closer inspection.
2. Frequency, which refers to the recurrence of material including
repeated events, obsessions, patterns, symbolic representations, or
themes. Frequency manifests in the repeated or obsessive reference to
a message or incident.
3. Uniqueness, which describes variations in the collected information
that warrant closer inspection because they are unusual or singular.
Variations may include events such as unique memories or
information marked by the subject as being unprecedented.
4. Negation, which concerns that which is denied or turned into its oppo-
site. Statements of negation often reveal repressed or unconscious
material or ‘truths’ that the person wants others to believe.
5. Emphasis, which refers to certain forms of accentuation (i.e., certain
information may be overemphasised or underemphasised).
A Psychohistorical Sketch of Freddie Mercury 21

6. Omission, which indicates what is missing, especially the absence of

expected content or evidence. Here a vital clue in the subject’s life
might be revealed by actually questioning what is missing from the
information or evidence.
7. Error or distortion, which implies the presence of mistakes which may
relate to person, place or time. These errors and distortions could be
indicative of incorrect historical information or even important
hidden motives which can go undetected.
8. Isolation, which refers to a fragment of information or evidence that
stands out or does not fit. Important evidence may be contained in
occurrences where the functionality of information within the pre-
sented context is questioned.
9. Incompletion, which refers to what is left unfinished. Incompletion
is exhibited when a topic is introduced, but is then terminated
without closure.

ANALYSIS
Six historical periods in Mercury’s life were cross-tabulated with the psy-
chosocial developmental stages proposed by Erikson (1963, 1980). These
historical periods included (1) Zanzibar (1946-1953), coinciding with Erik-
son’s first, second and third psychosocial stages; (2) Panchgani
(1954–1958), coinciding with Erikson’s fourth stage. Jones (2012) noted
that educational services for boys were not of a high standard in Zanzibar.
Bulsara’s parents sent their eight-year-old son to a boarding school in
India. On 14 February 1955, he enrolled at the St. Peter’s Church of Eng-
land School in Panchgani, in the Indian state of Maharashtra (Dolezal &
Rossacher, 2000); (3) Darling (1959–1963), coinciding with Erikson’s fifth
stage. Mercury had the habit of calling everyone “darling” during this
period (Jones, 2012, p.49).; (4) The Great Pretender (1964–1974), coinciding
with Erikson’s sixth stage; as well as (5) I want to break free (1975–1984),
and (6) Love Kills (1984–1991), coinciding with Erikson’s seventh stage.
The psychosocial-historical conceptualization helped us to organize the
biographical evidence to produce a chronological psychohistorical sketch
across his life-span.

ETHICAL CONSIDERATIONS
The researchers collected information that existed exclusively in the
public domain, minimising the possible invasion of privacy and
potential reputational consequences. The study was approved by the
Research Committee of the Department of Psychology at the University
of the Free State (acting as Institutional Review Board).
22 Paul J.P. Fouché, Dewald A. Louw, Pravani
Naidoo & Roelf van Niekerk

FINDINGS AND DISCUSSION

Mercury’s life spanned seven of the eight Eriksonian psychosocial stages.
The propositions specific to each stage are briefly explained, followed by an
application of each to the six historical periods. Findings regarding the first
three stages of Mercury’s childhood were based on information gained
from biographical evidence provided by family and friends. Evidence for
particular stages was integrated with evidence from later stages and devel-
opmental trajectories and inferences were made regarding Erikson’s predic-
tions for successful and unsuccessful navigation through the life-cycle.

Stage 1: Trust versus Mistrust—Hope (0 to 1 year)

According to Erikson (1963), individuals face the first psychosocial crisis
during their first year of life. The infant is confronted with opposing
forces that need to be integrated, namely, beliefs of trust or mistrust
towards the world and oneself (Erikson, 1963, 1980). If the infant
resolves this psychosocial crisis successfully, he or she develops a sense of
basic trust in the world, allowing the ego qualities of hope and faith to
emerge. This psychosocial stage coincides with the first historical period
of Mercury’s life.

Zanzibar (1946–1953)
Mercury was named Farrokh, a popular Parsee name (Jones, 2012).
Erikson (1963) emphasised the quality of the emotional bond between
infants and their primary caregiver as the primary factor determining the
outcome of the first stage. Jer, his mother, who passed away in 2016 at
the age of 94, is described as a warm and friendly individual (Dolezal &
Rossacher, 2000). Evidence from interviews with Jer Bulsara indicated a
healthy relationship between her and her son, Farrokh. Jer is also
described as a motherly individual (Dolezal & Rossacher, 2000; Jones,
2012; Thomas, 2012). Nannies were employed to tend to Mercury when
his parents were away (Thomas, 2012). Mercury’s cousin also
occasionally assisted in this role. While Mercury’s parents were not very
strict, he did not receive much affection from them (Jones, 2012). There
is no evidence that Mercury was physically or emotionally abused or
neglected during his first year, but it is uncertain who his primary
caregiver was and with whom he formed attachments, if any. Mercury
did not refer to his nanny or cousin in later years, which may indicate an
absence of strong emotional bonds with them.
Sparse evidence is available about Mercury’s relationship with his
father; Mercury rarely commented about him during his life. It appears
A Psychohistorical Sketch of Freddie Mercury 23

that Mercury had a stable relationship with his parents. His parents
taught him to respect them, and he acted accordingly (Jones, 2012).
Although there was some communication and contact between Mercury
and his parents, for example, in later years, he sent them postcards and
invited them to dinner (Jones, 2012), researchers question the quality of
the relationship. Mercury never felt comfortable enough to share or
discuss his sexuality and social lifestyle with his parents. As an adult,
Mercury felt uncomfortable disclosing anything about his private life to
his family (Dolezal & Rossacher, 2000). However, his respect for them
maintained their relationship. Even when Mercury was diagnosed with
HIV, he waited until being gravely ill before disclosure of his HIV status
to his sister (Jones, 2012). According to Erikson (1963), the extent to
which infants learn to trust their environment depends predominantly
on the quality of the relationship between the mother and child. Erikson
(1963, 1980) stated that the unsuccessful resolution of the first stage
results in the acquisition of mistrust. Such mistrust continues throughout
the individual’s life. Mercury’s behaviour in his later life is indicative of a
basic sense of mistrust rather than trust. Erikson (1963, 1980) postulated
that inadequate parental nurturing in the first stage can result in the
desire to self-nurture. Mercury was known for misusing alcohol and
cocaine, and engaging in promiscuous sexual behaviour (Jackson, 2012;
Jones, 2012; Richards & Langthorne, 2016). Sadock and Sadock (2014)
interpret such behaviour as self-nurturance. Substance-dependent per-
sonalities have strong oral-dependency needs and use substances to
soothe themselves (Sadock & Sadock, 2014).
Mercury did not trust people easily (Dolezal & Rossacher, 2000; Jones,
2012; Thomas, 2012). Infants who do not develop a secure attachment to
a trustworthy caregiver find it challenging to develop trusting
relationships later in life (Hook, 2002; Seligman & Reichenberg, 2010),
and may instead develop insecure relationships. Mercury, an aloof child,
preferred individual activities (e.g., drawing and painting). Later, as a suc-
cessful musician, he distrusted people involved in the music industry,
disliked attending media events, and especially disliked journalists as he
despised talking to unfamiliar people (Jones, 2012). Mercury’s contact
with partners was predominantly limited to sexual acts and he struggled
to allow deep emotional bonds to form, with the possible exception of
his later relationship with his wife, Mary Austin (Thomas, 2012).
Mercury did not acquire the virtues of hope and faith. Erikson (1963,
1980) asserted that hope is crucial for the development of care, compe-
tence, purpose, will, fidelity and love due to its inherent orientation
24 Paul J.P. Fouché, Dewald A. Louw, Pravani
Naidoo & Roelf van Niekerk

towards the future. Mercury’s outlook on life was not future orientated; he
was known for being impulsive and living in the moment (Richards &
Langthorne, 2016). In addition to its self nurturing or soothing aspect,
substance misuse could have been an attempt to escape reality. Mercury
shut himself off emotionally from his illness, demanding that his friends
and employees not mention it (Jones, 2012). While Mercury seldom pre-
sented with any salient depressive symptoms (Jones, 2012), he was
inclined to avoid or suppress unpleasant emotions (Jackson, 2012; Jones,
2012; Richards & Langthorne, 2016). Mercury tended to struggle with
emotions such as guilt, fear of rejection and a desire for love (Jones, 2012).
Religion represents the social modality that safeguards the acquired
ego strength of hope and faith (Erikson, 1963, 1980). Mercury grew up in
a religious family and attended Anglican and Catholic schools. However,
later in life, he refrained from committing to any religious paradigm
(Jones, 2012; Thomas, 2012), Furthermore, with no specific early attach-
ment figure, Mercury could have felt invisible and unimportant growing
up in the household, thus contributing to his lifelong desire to be
noticed by the world. We are of the opinion that failing to navigate and
successfully resolve the first and most fundamental stage of psychosocial
development, and consequently failing to acquire the virtues of hope
and faith, Mercury developed a sense of mistrust that had an adverse
effect on his developmental trajectory.

Stage 2: Autonomy versus Shame and Doubt—

Will (1 to 3 years)
Erikson’s second stage is applicable to children between the ages of 18
months and three years (Hamachek, 1988, 1990). Autonomy protects the
individual against loss of self-esteem and is associated with a general
sense of pride and will (Erikson, 1963). In contrast, shame indicates self-
consciousness and self-doubt (Erikson, 1963, 1980). Caregivers allowing
children to practice their new abilities at their own pace, encourage the
development of autonomy (Hook, 2002). However, if these attempts to
act independently are punished, a sense of shame and doubt is fostered.
If this crisis is resolved successfully, the ego strength of will is acquired.

Zanzibar (1946–1953)—continuation
Erikson (1963) noted that, as young children reach out to explore their
environment, caregivers should strike a balance between being restrictive
and permissive. According to his mother, Jer, young Farrokh entertained
guests by singing to them, possibly fostering his feeling of pride (Kokozej,
A Psychohistorical Sketch of Freddie Mercury 25

2013). Although she did not specify the age at which these events
occurred, it appears that Farrokh was allowed, at least by his mother, to
explore his own abilities, fostering a sense of autonomy.
The Bulsaras lived in a spacious flat overlooking the sea in Zanzibar
(Jones, 2012). The limited photos available of Mercury during early
childhood are of him being outdoors. The town was safe for children to
roam, as the alleys are too narrow for cars to commute (Macaskill,
2016). Mercury was not prohibited from exploring his environment,
nor punished for exploration attempts during this period. Excessive
shaming as a child may lead to the development of delinquent
behaviour as an adolescent or adult (Sadock & Sadock, 2014). There is
no evidence of delinquency regarding Mercury’s behaviour and he was
never accused of breaking the rules or viewed as being defiant during
childhood or adolescence.
During this period, Tanzanian law enforcement authorities prosecuted
any sexual acts between same-sex individuals (Jones, 2012). Furthermore,
the Bulsaras, who practiced Zoroastrianism, raised Mercury in a religious
environment that strongly condemned homosexuality (Dolezal &
Rossacher, 2000; Jones, 2012). Mercury’s religious upbringing continued
with his enrolment at religious schools as a child (Jones, 2012).
According to Sadock and Sadock (2014), extreme inhibition and control
during childhood can result in the individual engaging in rebellious
behaviour. As Mercury explored the liberal Western cultures during adult-
hood, it appears that he rebelled against previous religious constraints.
He utilized his acquired sense of autonomy to express his sexuality by
becoming involved in the homosexual sub-culture.
Children from the age of two years begin to develop a gender identity
(Allan & Gilbert, 1997). However, children do not have a crystallized
sense of sexual identity or sexual preference at this age. We are of the
opinion that Mercury was unaware of his sexual preferences during this
period and propose that specific values against homosexuality were com-
municated and instilled by his social environment. These values would
be reinforced throughout Mercury’s childhood and adolescence.
Mercury acquired the ego-strength of will, a prerequisite for future
self-discipline (Erikson, 1963, 1980). He was known for being an above-
average academic achiever, despite initially failing Grade 10, as well as a
high achiever in sports (Jones, 2012). His ability to exercise his will is
reflected in his commitment as a recording artist during later years. Mer-
cury was known for perfecting his vocal takes (Thomas, 2012). He had
the necessary self-discipline to act on his professional goals. Despite
26 Paul J.P. Fouché, Dewald A. Louw, Pravani
Naidoo & Roelf van Niekerk

using cocaine at social events, he was able to exercise the necessary self-
control to abstain from using it when he decided to do so (Jones, 2012).

Stage 3: Initiative versus Guilt—Purpose (ages 3 to 6)

According to Erikson and Erikson (1998) and Hamachek (1990), preschool
children between three and six years confront the third psychosocial
crisis, initiative versus guilt. A sense of morality is instilled, guiding indi-
viduals towards what is permissible. With enhanced cognitive potential,
children can manipulate and provoke reactions from people, which may
cause them to experience a sense of guilt about their behaviour.

Zanzibar (1946–1953)—continuation
Seligman and Reichenberg (2010) regard the identification with the
same-sex parent as an important component of this stage. There is little
evidence about the nature of the attachment between Mercury and his
father (Dolezal & Rossacher, 2000; Thomas, 2012): “Bomi was neither a
dominant role model nor macho hero to his son” (Jones, 2012, p.41).
Mercury was more comfortable in the presence of his mother and was
not inclined to follow in his father’s footsteps with regard to Bomi’s occu-
pation as a government employee (Jones, 2012). Important events during
this period included the birth of Mercury’s sister, Kashmira, when he was
five years old, possibly limiting the attention he received (Jones, 2012;
Thomas, 2012). A lack of paternal modelling and praise may have
thwarted Mercury’s initiative in Stage 3. However, with an already well-
established sense of autonomy, yet a sense of mistrust in his parents,
Mercury may have compensated by setting his own standards and func-
tioning independently. He initiated activities (e.g., drawing and
painting), and enjoyed listening to music (Jones, 2012; Thomas, 2012).
During his later years in India, Mercury would often send his drawings to
his aunts (Richards & Langthorne, 2016). We propose that Mercury’s
independent functioning might have been a coping mechanism during
this time. Later behaviour also reflected Mercury’s sense of initiative. Ini-
tiative assists the individual in dealing with failures and pursuing goals
(Erikson, 1980). Mercury’s initiative is prevalent throughout his life-span.
Apart from being a high academic achiever, he became involved in
boxing, table tennis, chess, choir, and art (Dolezal & Rossacher, 2000;
Jones, 2012; Thomas, 2012). As an adult entertainer, he was well known
for initiating change within the musical sphere and experimenting with
his stage persona (Dolezal & Rossacher, 2000). Mercury seemed to over-
come setbacks, as is evident by his effort to move on to the next project
A Psychohistorical Sketch of Freddie Mercury 27

when his solo album sales did not live up to the record label’s
expectations in 1985 (Jones, 2012; Thomas, 2012).
The unsuccessful resolution of the conflicts of this stage instils a sense
of guilt in the individual (Erikson, 1963). Mercury presented with guilt
feelings in adulthood, especially towards Austin after revealing he was
bisexual (Jones, 2012; Thomas, 2012). However, we think that Mercury’s
guilt feelings were not the result of the unsuccessful navigation of the
third psychosocial stage, but rather due to the continuous moral contra-
diction with which he was confronted.
During this psychosocial stage, children listen to stories providing
them with cultural templates (Stevens, 2008). In the Bulsara household,
Mercury’s caregivers read fables including The Arabian Nights to him, ini-
tiating him into the Parsee culture (Kokozej, 2013). At the age of five,
Mercury attended the Zanzibar Missionary School, where he was taught
by nuns (Dolezal & Rossacher, 2000; Jones, 2012). The school must have
raised questions for Mercury regarding the truthfulness of his own
Zoroastrian and Parsee belief system. Mercury was accepted into the
Zoroastrian faith in Zanzibar at the age of eight, a few months before he
left for India to attend a Catholic school (Jackson, 2012; Jones, 2012).
Being confronted with contrasting religious paradigms and cultural tradi-
tions could have elicited guilt feelings. He was not known for being reli-
gious in his later life (Dolezal & Rossacher, 2000; Thomas, 2012). Con-
trasting religious values could also have been the reason why Mercury
distanced himself from his own family during middle childhood,
attempting to avoid disappointing them. Fuelled by religious reinforce-
ment in his early years, Mercury possibly experienced guilt after revealing
his bisexuality to Austin (Jones, 2012). He referred to her as the love of
his life and his sense of guilt remained. He continued to include her in
his life by employing her as his personal secretary, buying her property,
and leaving the largest part of his estate to her (Dolezal & Rossacher,
2000; Jones, 2012; Thomas, 2012).
Guilt might have contributed to Mercury’s perfectionism, as well. Erik-
son stated that parental and societal authority are internalized as the
child’s conscience, giving rise to the ability to self-regulate and self-
punish. The experience of a lack of authoritative feedback led Mercury to
rely on his independent self-regulation. This could well have increased
feelings of guilt as well as the desire to be perfect to avoid self-
punishment. Despite the lack of ideal parental feedback or support for
his initiatives during the third stage, Mercury did acquire a sense of ini-
tiative. Furthermore, his successful navigation of the previous stage, and
28 Paul J.P. Fouché, Dewald A. Louw, Pravani
Naidoo & Roelf van Niekerk

the emergence of a sense of autonomy, resulted in the independence that

enabled him to cope. Individuals demonstrate the ego strength of
purpose when they devise bold plans and take pride in their
achievements. This virtue allows the individual to embark upon
ambitious projects (Erikson, 1963, 1980). Mercury’s determination to
achieve success was evident throughout his professional career. He was
known for suggesting bold plans to his fellow band members, including
controversial ideas regarding the reinvention of music and fashion state-
ments (Jackson, 2012; Jones, 2012; Thomas, 2012).
Erikson (1963, 1980) proposed economic endeavour as the social insti-
tution for this stage. During this time, children’s imagination and dreams
become attached to tangible goals of adulthood. With the Bulsara family
enjoying listening to British music, Mercury was introduced to pop stars,
providing him with the opportunity to admire their talents and establish
personal goals (Jackson, 2012; Jones, 2012). Despite his underlying sense
of guilt fostered by cultural and religious confusion during childhood,
and over compensatory self-regulation, it appears that the third stage
resulted in an acquired sense of initiative as is evident in Mercury’s
behaviour in his later life along with the ego-strength of purpose.

Stage 4: Industry versus Inferiority—Competence

(ages 6 to 12)
The fourth stage spans the period between 6 and 12 years (Erikson & Erik-
son, 1998; Hamachek, 1990). Children usually enter formal education and
develop a sense of industry when they are able to work with tools, produce
things and adapt to the challenges of cooperation (Erikson, 1963). If their
efforts are criticised for being inadequate, children can develop a sense of
failure or inferiority. If the stage of industry versus inferiority is navigated
successfully, the ego-strength of competence is developed.

Panchgani (1954–1958)
During Stage 4 the child’s social context expands and external influences,
such as the school environment become important. One of the most
prominent events during this historical period was Mercury leaving Zanz-
ibar at the age of eight, to attend a school in India (Jones, 2012).
Mercury’s parents were not satisfied with the level of education available
to boys in Zanzibar and sent him to relatives in India (Thomas, 2012).
Mercury’s social environment expanded, but he was cut off from support
systems. He was distressed, being away from home and worried about his
sister’s emotional well-being (Jones, 2012). He referred to himself as “a bit
A Psychohistorical Sketch of Freddie Mercury 29

clingy” (Jones, 2012, p.45), cried himself to sleep at night, was angry
with his parents for rejecting him, and disillusioned by the new environ-
ment. He grew distant from his parents, often visiting his aunts in India,
instead of going home (Szabelski, 2012). Although Mercury sent letters to
his parents, they were described as rather “unemotional” attempts to
maintain contact (Jones, 2012, p.42). Mercury’s acquired sense of
mistrust during the first stage was again reinforced during this period
when his parents sent him to school abroad. Whilst visiting his aunty in
Bombay, Mercury learnt to play the piano (Jones, 2012). At school, Mer-
cury was immersed in a male-dominated environment. He befriended
three boys and found comfort in these relationships (Dolezal &
Rossacher, 2000; Jones, 2012). They became inseparable (Jones, 2012).
Mercury, a skinny, short boy, was sometimes bullied by others at school
(Thomas, 2012). According to Erikson (1980), children begin to compare
themselves with their peers during Stage 4 and are likely to acquire a
sense of inferiority if the comparisons are unfavourable. Although con-
frontational events can assist the child in learning the necessary social
skills to utilize in adulthood (Sadock & Sadock, 2014), this was not the
case with Mercury. He acknowledged that the initial years at boarding
school taught him assertiveness, though he tended to avoid crowds. At
the age of 10, Mercury began to display a “very aloof, somewhat conde-
scending streak” (Jones, 2012, p.46). He avoided team sports and
preferred solo activities (Jones, 2012) such as painting and drawing.
Despite these adversities, Mercury won the prize for Academic Prowess
the following year (Jones, 2012).
Evidence indicates that Mercury developed a sense of inferiority. As an
adult, he remained insecure (Thomas, 2012). He was uncomfortable
talking to the media (Dolezal & Rossacher, 2000), and was unable to
approach strangers without being accompanied by a friend (Jones, 2012).
Even after successful performances, Mercury would ask his band members
for reassurance about his performance. He was also self-conscious about
his physical features (Dolezal & Rossacher, 2000; Thomas, 2012) and
referred to himself as a boring individual (Thomas, 2012).

Stage 5: Identity versus Role Confusion—Fidelity

(ages 12 to 18)
This stage introduces the polarities of identity and role confusion
(Erikson, 1963; Hamachek, 1988, 1990). Erikson (1963, 1980) refers to
the sense of identity as individuals’ conscious sense of their uniqueness,
as well as their striving towards continuity of experience. Unsuccessful
30 Paul J.P. Fouché, Dewald A. Louw, Pravani
Naidoo & Roelf van Niekerk

navigation of this stage, leads to role confusion, resulting in uncertainty

about the sense of self. Successful resolution leads to fidelity (Erikson,
1980), involving the ability to commit to chosen roles, beliefs and affili-
ations despite the inevitable contradictions presented by alternative
value systems.

Darling (1959–1963)
During this period, in which he was at school in India Mercury referred to
himself as British, referencing his father’s connection with the British Gov-
ernment (Jones, 2012). The first occurrence of Mercury manipulating his
identity occurred soon after he arrived in India. Local boys struggled with
the correct pronunciation of his name, Farrokh, so Mercury started calling
himself Frederick, a much more acceptable English name (Jones, 2012). He
was pleased when teachers and peers adopted the new name, calling him
Freddie. During this period, Mercury joined a school band, The Hectics, as
the “boogie-woogie piano-playing style” keyboard player (Jones, 2012,
p.47). The Hectics gained popularity and the reserved Mercury learnt how
to impress, turning into a flamboyant performer behind the keyboard.
Erikson (1963) stated that, apart from developing an individual identity,
adolescents also desire to develop a social identity as they become aware of
how they are perceived by others. Mercury felt comfortable on stage, as he
thought the stage lights and the distance between him and the audience
disguised his physical imperfections (Thomas, 2012).
Mercury, who won academic awards earlier, eventually lost interest in
his studies and failed grade 10 (Jones, 2012). Until then, his sense of mas-
tery was rooted in academic achievement and art. However, as soon as he
began receiving recognition as a stage performer, his focus shifted
towards music.
In 1963, after failing Grade 10, Mercury returned to Zanzibar to com-
plete his last years of school (Jones, 2012). He had a strong desire to
forget about India and move on. He did not maintain contact with his
friends (Dolezal & Rossacher, 2000; Jones, 2012). Mercury’s time in India
was also a period of confusion regarding his sexuality (Jones, 2012).
Erikson (1963) emphasised the importance of ideology for young ado-
lescents as they are presented with different beliefs and values to explore
in developing their identities. With a well-established sense of autonomy
and free will, Mercury already showed signs of rebellion against his
upbringing by adopting the Westernized rock and roll lifestyle. Stage 5 of
psychosocial development encompasses experimentation during which
adolescents, in search of identity, transform their appearance and rela-
A Psychohistorical Sketch of Freddie Mercury 31

tionships (Seligman & Reichenberg, 2010). This period gave Mercury the
opportunity to experiment with his sexual identity. He was attracted to
Gita Bharucha, a local 15-year-old girl he met when the neighbouring
girls’ school joined them for choir practice (Jones, 2012). She and Bulsara
were particularly close, but not serious; they would hold hands, but were
not intimate. His relationship with Gita Bharucha was seen as a
friendship, rather than a romantic relationship (Jones, 2012). During this
time, Mercury increasingly presented with feminine characteristics, often
playing female characters in school musicals (Dolezal & Rossacher, 2000;
Jones, 2012). He had the habit of calling others Darling: “It was very
much inside of him, a fundamental part of him. I couldn’t help feeling
sorry for him, as the others would make fun of him. Funny thing was, he
didn’t seem to mind”(Jones, 2012, p.49).
Inconsistent information exists regarding Mercury’s sexual preferences
during this period (Dolezal & Rossacher, 2000; Freestone & Evans, 2001;
Thomas, 2012). Evidence suggests that Mercury did not achieve a true
identity. Throughout his life, Mercury experimented with different iden-
tities, including the leather look, the clone look, as well as breaking away
from Queen to create a solo identity in 1985. The drastic musical shift in
genre from rock and roll to classical music with Montserrat Caballé was
made in 1987 (Dolezal & Rossacher, 2000; Thomas & Lupton, 2011;
Thomas, 2012). Mercury was obsessed with classical music and operas
and had great admiration for the Spanish soprano, Caballé (Dolezal &
Rossacher, 2000). He was fascinated with the vocal control classical
singers exhibited (Thomas, 2012). According to Tim Rice, Mercury
viewed Caballé as the best vocalist in the world (Jones, 2012).
When the Zanzibar Revolution broke out in 1964, and the family fled
to England (Szabelski, 2012), Mercury’s exposure to different cultures
inspired his creativity, but also left him drifting in search of himself.
With a lack of self-definition, Mercury failed to navigate the fifth stage,
resulting in role confusion. Consequently, the ego strength of fidelity was
not acquired, making commitment difficult. Failing to resolve this psy-
chosocial crisis, along with his prior unresolved crises, made it
challenging for Mercury to navigate the next stage.

Stage 6: Intimacy versus Isolation (18 to 40 years)

Erikson (1963) argued that adults who successfully navigated the stage of
identity versus role confusion have the desire to merge their identities
with that of others. When individuals develop the capacity for intimacy,
while maintaining their need for some isolation, they are able to love
32 Paul J.P. Fouché, Dewald A. Louw, Pravani
Naidoo & Roelf van Niekerk

and accept love (Erikson 1980). Isolation involves distancing oneself

from social contact or forces that are perceived as threatening to one’s
unstable sense of identity (Erikson, 1963). The successful resolution of
this stage gives rise to the ego-strength of love (Erikson, 1980).

The Great Pretender (1964 to 1974)

During this period, Mercury moved to England with his family and con-
tinued his search for self-clarification. In London, he enjoyed a sense of
anonymity, which protected him from exposing his vulnerabilities, but
which failed to satisfy his desire to belong and be loved (Dolezal &
Rossacher, 2000). He gradually created a public persona and became
Freddy Mercury (Jones, 2012). The surname, Mercury, indicated his desire
to be a God-like person who would win the approval of others (Dolezal &
Rossacher, 2000). During this period, he performed only with other musi-
cians. His insecurities made solo performances difficult. Moreover, other
musicians provided him with a family atmosphere. Thomas (2012) stated
that Mercury enjoyed living with colleagues during recording sessions.
In 1970, Mercury met Mary Austin (Jones, 2012). She was estranged
from her parents during childhood (Dolezal & Rossacher, 2000; Jones,
2012). According to Jones (2012) and Szabelski (2012) Austin functioned as
Mercury’s idealised mother—someone who provided him with all the love
he desired, but also approved of his promiscuous and rebellious behaviour
(Thomas, 2012) that would not have been acceptable to his parents.

I Want to Break Free (1975 to 1984)

During this period, Mercury travelled the world with Queen, expressing
his rebellious and promiscuous side. The evidence is unclear about when
exactly he became aware of his sexual attraction to men. He first revealed
his sexual preference to Austin in 1975, at the age of 29 (Jones, 2012). It
was difficult for Mercury to sustain his relationship with Austin, while
suppressing his sexual desires for men; however, Mercury and Austin
remained friends until his death. Mercury’s impaired sense of trust in
others, his heightened sense of guilt, and his confused identity made it
difficult to commit to an exclusive long-term relationship. Mercury’s rela-
tionship with the majority of his partners was primarily sexual, with
‘shallow’ emotional depth (Jones, 2012). He was known for having one-
night stands during this time (Dolezal & Rossacher, 2000; Freestone &
Evans, 2001; Thomas, 2012).
According to Erikson, the capacity for intimacy also applies to other
partnerships and relationships, including acquaintances, family and
A Psychohistorical Sketch of Freddie Mercury 33

friends. Mercury’s relationship with his family continued to be distant

during this period (Jones, 2012). Mercury did not successfully navigate
the stage of intimacy versus role confusion. With a sense of isolation,
mistrust, inferiority, and a confused self, Mercury did not acquire the ego
strength of love.

Stage 7: Generativity versus Stagnation—Care

(40 to 65 years)
Generativity versus stagnation is the longest stage in the life cycle
(Hamachek, 1990). Individuals may acquire a sense of generativity
outside the family as productive members of their communities (Erikson,
1963; Erikson & Erikson, 1998). Individuals become less self-centred and
begin to assist in the guidance and encouragement of others,
consequently developing the ego strength of care. According to Erikson
and Erikson (1998), previously acquired ego strengths (i.e., hope, will,
purpose, fidelity and love) are essential for guidance through Stage 7,
since individuals promote these ego virtues to the next generation.

Love Kills (1985 to 1991)

After being diagnosed with HIV in 1987, Mercury withdrew (Dolezal &
Rossacher, 2000; Freestone & Evans, 2001; Jones, 2012). He ceased sexual
activity out of fear of spreading the HIV virus, despite the fact that he
viewed sex as an integral part of his life. Mercury’s physical condition
deteriorated quickly and he was soon unable to tour with Queen (Jones,
2012). According to Erikson (1963), when ego interests are not expanded
during this stage, stagnation occurs, inevitably leading to regression to
past crises (e.g., pseudo-intimacy, self-indulgence, or lack of faith in
humankind). Mercury experienced stagnation when he lost the opportu-
nity to pursue previously unresolved crises. The successful resolution of
the middle-age crisis involves acquiring a sense of having produced some-
thing that would outlive him or her (Erikson, 1998). Mercury made
several attempts to foster generativity and leave something lasting behind.
Firstly, he fostered generativity through his music. After announcing his
illness to the other members of Queen, he declared that he would continue
working until he died (Thomas, 2012). He attempted to be involved in as
many creative projects as possible (Jones, 2012), including further albums
with Queen—The Miracle and Innuendo—as well as novel endeavours such
as producing a classical album with opera star, Caballé. Mercury also
enjoyed renovating his homestead during this period as he wanted to
leave behind something meaningful for those he loved (Freestone &
34 Paul J.P. Fouché, Dewald A. Louw, Pravani
Naidoo & Roelf van Niekerk

Evans, 2001). In an attempt to provide for the generations to come, a

large portion of his wealth was left to his parents and his sister (Dolezal &
Rossacher, 2000). Mercury left Austin fifty percent of his estate, including
his house (Jones, 2012; O’Casey, 2011; Thomas, 2012).
Mercury did not have children of his own and considered himself
unsuitable as a family man (Jones, 2012). We speculate that Mercury
focused his generativity on his inner circle of friends and family. With his
longing for love and fear of being alone, Mercury surrounded himself
with friends, frequently employing them (Thomas, 2012). Mercury
received care and love from those close to him as well as giving to them
(Jones, 2012; Thomas, 2012). We believe that Mercury tried to reach out
to friends and family during his final years and expressed care and gener-
ativity by leaving them money, along with his music legacy.

CONCLUSION
Based on the analysed evidence, Mercury successfully navigated through
only three of Erikson’s psychosocial crises, namely stages two, three, and
seven. When his entire life-span is explored, it appears that he acquired
the ego-strengths of will, purpose, and care. In general, the historical
periods across his life-span are consistent with Erikson’s (1963) proposed
timing for psychosocial conflict occurrence. However, the findings also
illuminate some deviation from the psychosocial theory. In Mercury’s
case, the evidence related to Stage 3 indicates that he acquired not only
initiative, but also a sense of guilt.
Erikson (1963) proposed that all psychosocial crises could emerge
sooner or at a later time in an individual’s life. The timing of Erikson’s
last stage, integrity versus despair, could possibly have been relevant to
Mercury’s life. He had a terminal illness and faced several years knowing
that the HIV virus would cause his death. The eighth stage represents a
period of reflection, after most accomplishments have been achieved. As
the life-span nears completion, the individual is faced with the task of
dealing with the fear of death. Mercury most likely reflected on his
untimely illness. He showed no signs of severe depression and did not
seem to experience despair. However, he began to live outside the spot-
light, away from the public eye. His final days again appeared to
resemble the life of the seven-year-old boy, Farrokh, who lived in
Zanzibar. Quiet and soft spoken, he preferred to function on his own,
started painting and drawing again, and was close to his loved ones.
A Psychohistorical Sketch of Freddie Mercury 35

Paul, J.P. Fouché, (D Phil), is an associate-professor of Psychology at the Uni-

versity of the Free State, Bloemfontein in South-Africa. His interest is in the
field of psychobiography and historical psychology. Prof Fouché can be reached
at fouchejp@ufs.ac.za

Dewald A. Louw, is a registered Counselling Psychologist at Montrose Manor, a

psychiatric facility that focuses on eating disorders, in Cape Town, South
Africa. His research interests include Psychobiography. Dewald is also a profes-
sional singer-songwriter and enjoys merging the entertainment and
psychological spheres into valuable research topics.

Pravani Naidoo, PhD, lectures in the Psychology Department at the University

of the Free State in Bloemfontein, South Africa. She also works within the field
of positive psychology and psychobiography. Dr Naidoo can be reached at
NaidooP@ufs.ac.za.

Prof Roelf van Niekerk is a registered Clinical and Industrial Psychologist. He is

currently the Head of the Department of Industrial and Organisational
Psychology at the Nelson Mandela University in Port Elizabeth, South Africa. E-
mail: roelf.vanniekerk@mandela.ac.za

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