Answer the question at the end by quoting:

Slavoj Zizek ( ( listen) SLAH-voy ZHIZH-ek; Slovene: ['slavoj 'ZiZek]; born 21 March 1949) is a Slovenian continental philosopher. He is a senior researcher at the Institute for Sociology and Philosophy at the University of Ljubljana, Global Distinguished Professor of German at New York University, and international director of the Birkbeck Institute for the Humanities of the University of London. He works in subjects including continental philosophy, political theory, cultural studies, psychoanalysis, film criticism, Marxism, Hegelianism and theology. In 1989, Zizek published his first English text, The Sublime Object of Ideology, in which he departed from traditional Marxist theory to develop a materialist conception of ideology that drew heavily on Lacanian psychoanalysis and Hegelian idealism.
Zizek argues: The state is a system of regulatory institutions that shape our behavior. Its power is purely symbolic and has no normative force outside of collective behavior. In this way, the term the law signifies society's basic principles, which enable interaction by prohibiting certain acts. Political decisions have become depoliticized and accepted as natural conclusions. For example, controversial policy decisions (such as reductions in social welfare spending) are presented as apparently "objective" necessities. Although governments make claims about increased citizen participation and democracy, the important decisions are still made in the interests of capital. The two-party system dominant in the United States and elsewhere produces a similar illusion. It is still necessary to engage in particular conflicts - such as labor disputes - but the trick is to relate these individual events to the larger struggle. Particular demands, if executed well, might serve as metaphorical condensation for the system and its injustices. The real political conflict is between an ordered structure of society and those without a place in it. In stark contrast to the intellectual tenets of the European "universalist Left" in general, and those Jurgen Habermas defined as postnational in particular, pro-sovereignty and pro-independence processes opened in Europe are good. The postmodern subject is cynical toward official institutions, yet at the same time believes in conspiracies. When we lost our shared belief in a single power, we constructed another of the Other in order to escape the unbearable freedom that we faced. It is not enough to merely know that you are being lied to, particularly when continuing to live a normal life under capitalism. For example, that despite people being aware of ideology, they may continue to act as automata, mistakenly believing that they are thereby expressing their radical freedom. Although one may possess a self-awareness, just because one understands what one is doing does not mean that one is doing the right thing. Religion is not an enemy but rather one of the fields of struggle. Atheism is good. Religious fundamentalists are, in a way, no different from "godless Stalinist Communists." They both value divine will and salvation over moral or ethical action.

what were the political thoughts?

Political decisions have become depoliticized and accepted as natural conclusions.

IN: "Bohemian Rhapsody" is a song by the British rock band Queen. It was written by Freddie Mercury for the band's 1975 album A Night at the Opera. It is a six-minute suite, consisting of several sections without a chorus: an intro, a ballad segment, an operatic passage, a hard rock part and a reflective coda. The song is a more accessible take on the 1970s progressive rock genre.

A rapid series of rhythmic and harmonic changes introduces a pseudo-operatic midsection, which contains the bulk of the elaborate vocal multi-tracking, depicting the narrator's descent into hell. While the underlying pulse of the song is maintained, the dynamics vary greatly from bar to bar, from only Mercury's voice accompanied by a piano to a multi-voice choir supported by drums, bass, piano and Timpani. The choir effect was created by having May, Mercury, and Taylor repeatedly sing their vocal parts, resulting in 180 separate overdubs. These overdubs were then combined into successive submixes. According to Roger Taylor, the voices of May, Mercury and himself combined created a wide vocal range: "Brian could get down quite low, Freddie had a powerful voice through the middle, and I was good at the high stuff." The band wanted to create "a wall of sound, that starts down and goes all the way up". The band used the bell effect for lyrics "Magnifico" and "Let me go". Also, on "Let him go", Taylor singing the top section carries his note on further after the rest of the "choir" have stopped singing. Lyrical references in this passage include Scaramouche, the fandango, Galileo Galilei, Figaro, Beelzebub and Bismillah, as rival factions fight over the narrator's soul. The section concludes with a full choral treatment of the lyric "Beelzebub has a devil put aside for me!", on a block B major chord. Roger Taylor tops the final chord with a falsetto B in the fifth octave (B5). Using the 24-track technology available at the time, the "opera" section took about three weeks to finish. Producer Roy Thomas Baker said "Every time Freddie came up with another 'Galileo', I would add another piece of tape to the reel." Baker recalls that they kept wearing out the tape, which meant having to do transfers.

Is there anything else I should know about the Opera part of the song?

OUT:
Lyrical references in this passage include Scaramouche, the fandango, Galileo Galilei, Figaro, Beelzebub and Bismillah,