Difference between revisions of "Mark Volman"

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[[Category:Musicians]]
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'''Mark Volman''', aka "The Phlorescent Leech" shortened to "Flo", was born 19 April 1947 in Los Angeles, CA.  He was a founding member of the musical group [[The Turtles]] along with [[Howard Kaylan]].  Mark & Howard joined [[The Mothers]] under the pseudonyms  [[Flo & Eddie]] as previous contractual restrictions kept them from using their real names.<br>
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==Records On Which This Artist Performed==
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Provided vocals for:<br>
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'''[[:Category:Original Albums|Original Albums]]'''
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*[[Chunga's Revenge]]
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*[[Fillmore East, June 1971]]
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*[[Frank Zappa's 200 Motels]]
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*[[Just Another Band From L.A.]]
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*[[You Can't Do That On Stage Anymore Vol. 1]]
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*[[You Can't Do That On Stage Anymore Vol. 3]]
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*[[You Can't Do That On Stage Anymore Vol. 6]]
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*[[Playground Psychotics]]
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'''[[:Category:Beat The Boots|Beat The Boots]]'''
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*[[Freaks & Motherfuckers (BTB)]]
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*[[Disconnected Synapses (BTB)]]
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*[[Tengo Na Minchia Tanta (BTB)]]
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*[[At The Circus (BTB)]]
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*[[Swiss Cheese/Fire! (BTB)]]
  
Mark Volman, aka Flo, aka The Phlorescent Leech, born 4/19/1947 in Los Angeles, CA was - along with [[Howard Kaylan - a founding member of the musical group THE TURTLES. Upon disbanding that group, Mark & Howard joined [[The Mothers]]. Volman provided vocal for [[Chunga's Revenge]], [[Fillmore East, June 1971]], [[Frank Zappa's 200 Motels]], [[Just Another Band From L.A.]], [[You Can't Do That On Stage Anymore Vol. 1]], [[You Can't Do That On Stage Anymore Vol. 3]], [[You Can't Do That On Stage Anymore Vol. 6]], and [[Playground Psychotics]]; also for the [[Beat The Boots]] series disks [[Freaks & Motherfuckers (BTB)]], [[Disconnected Synapses (BTB)]], [[Tengo Na Minchia Tanta (BTB)]], [[At The Circus (BTB), & [[Swiss Cheese/Fire! (BTB)]]. Mark can be seen in the Zappa movies [[200 Motels (The Film)]], [[Video From Hell]], and [[The True Story Of 200 Motels]].
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==Films In Which Artist Appeared==
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*[[200 Motels (The Film)|200 Motels]]
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*[[Down and Dirty Duck]]
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*[[Video From Hell]]
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*[[The True Story Of 200 Motels]]
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<br>
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Around the time of Frank's death, Mark and his girlfriend were running a health food store in Burbank, CA called "Sprouting Wings"<br>
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<br>
  
Around the time of Frank's death, Mark and his girlfriend were running a health food store in Burbank, CA called "Sprouting Wings".
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==Conceptual Continuity==
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<blockquote>"[[Frank Zappa|Frank]] had a philosophy, that he related to me at one time which was, an artist's career should not be judged on any singular project, no single record, film or any other individual piece of work. Frank felt that a person's art could only be judged as part of the whole of their career. Each individual creation was a part of that whole. No critique of any single work could change the overall end result, which was what should be seen as an artist's entire body of work. Only in that end result can it be judged and critiqued."</blockquote>
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<div align=right>— Ronnie, ''[[Interview With Mark Volman Of The Turtles]]'', [http://www.earcandymag.com/turtles.htm Ear Candy Mag], August 2001.</div>
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[[Category:Bandmembers|Volman, Mark]]
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[[Category:Musicians|Volman, Mark]]
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[[Category:The Real Frank Zappa Book (The List)|Volman, Mark]]

Latest revision as of 07:15, 14 August 2011

Mark Volman, aka "The Phlorescent Leech" shortened to "Flo", was born 19 April 1947 in Los Angeles, CA. He was a founding member of the musical group The Turtles along with Howard Kaylan. Mark & Howard joined The Mothers under the pseudonyms Flo & Eddie as previous contractual restrictions kept them from using their real names.

Records On Which This Artist Performed

Provided vocals for:
Original Albums

Beat The Boots

Films In Which Artist Appeared


Around the time of Frank's death, Mark and his girlfriend were running a health food store in Burbank, CA called "Sprouting Wings"

Conceptual Continuity

"Frank had a philosophy, that he related to me at one time which was, an artist's career should not be judged on any singular project, no single record, film or any other individual piece of work. Frank felt that a person's art could only be judged as part of the whole of their career. Each individual creation was a part of that whole. No critique of any single work could change the overall end result, which was what should be seen as an artist's entire body of work. Only in that end result can it be judged and critiqued."